"Well-known for his superb translations of Czech and Russian literature, especially Milan Kundera's The Unbearable Lightness of Being, Michael Henry Heim is just as good working from German; his translation is crisp and deft, and it skillfully conveys the detached yet terrible momentum of the story."New York Sun
Published on the eve of World War I, a decade after Buddenbrooks had established Thomas Mann as a literary celebrity, Death in Venice tells the story of Gustav von Aschenbach, a successful but aging writer who follows his wanderlust to Venice in search of spiritual fulfillment that instead leads to his erotic doom.
In the decaying city, besieged by an unnamed epidemic, he becomes obsessed with an exquisite Polish boy, Tadzio. "It is a story of the voluptuousness of doom," Mann wrote. "But the problem I had especially in mind was that of the artist's dignity."
|Product dimensions:||7.82(w) x 5.32(h) x 0.40(d)|
About the Author
German essayist, cultural critic, and novelist, Thomas Mann was awarded the Nobel Prize in Literature in 1929. Among his most famous works are Buddenbrooks, published when he was just twenty-six, The Magic Mountain, and Doctor Faustus.
Read an Excerpt
It was the nurse's fault. In vain Frau Consul Friedemann, when the matter was first suspected, had solemnly urged her to relinquish so heinous a vice; in vain she had dispensed to her daily a glass of red wine in addition to her nourishing stout. It suddenly came to light that the girl had actually sunk so low as to drink the methylated spirits intended for the coffee machine; and before a replacement for her had arrived, before she could be sent away, the accident had happened. One day, when little Johannes was about a month old, his mother and three adolescent sisters returned from a walk to find that he had fallen from the swaddling table and was lying on the floor making a horribly faint whimpering noise, with the nurse standing by looking stupidly down at him.
The doctor's face, as he carefully but firmly probed the limbs of the crooked, twitching little creature, wore an exceedingly serious expression; the three girls stood in a corner sobbing, and Frau Friedemann prayed aloud in her mortal anguish.
Even before the baby was born it had been the poor woman's lot to see her husband, the consul for the Netherlands, reft from her by an illness both sudden and acute, and she was still too broken in spirit to be even capable of hoping that the life of her little Johannes might be spared. Two days later, however, the doctor squeezed her hand encouragingly and pronounced that there was now absolutely no question of any immediate danger; above all, the slight concussion of the brain had completely cleared up. This, he explained, was obvious if one looked at the child's eyes; there had been a vacant stare in them at first which had now quitedisappeared . . . "Of course," he added, "we must wait and see how things go on—and we must hope for the best, you know, hope for the best . . ."
The gray gabled house in which Johannes Friedemann grew up was near the north gate of the old, scarcely middle-sized merchant city. Its front door opened onto a spacious stone-paved hall, from which a stair with white wooden banisters led to the upper floors. On the first was the living room with its walls papered in a faded landscape pattern, and its heavy mahogany table draped in crimson plush, with high-backed chairs and settees standing stiffly round it.
Here, as a child, he would often sit by the window, where there was always a fine display of flowers; he would sit on a little stool at his mother's feet, listening perhaps as she told him some wonderful story, gazing at her smooth gray hair and her kind gentle face, and breathing in the slight fragrance of scent that always hung about her. Or perhaps he would get her to show him the portrait of his father, an amiable gentleman with gray side-whiskers. He was (said his mother) now living in heaven, waiting for them all to join him there.
Behind the house was a little garden, and during the summer they would spend a good deal of time in it, notwithstanding the almost perpetual sickly sweet exhalations from a nearby sugar refinery. In the garden stood an old gnarled walnut tree, and in its shade little Johannes would often sit on a low wooden stool cracking nuts, while Frau Friedemann and her three daughters, now grown up, sat together in a gray canvas tent. But Frau Friedemann would often raise her eyes from her needlework and glance tenderly and sadly across at her son.
Little Johannes was no beauty, with his pigeon chest, his steeply humped back and his disproportionately long skinny arms, and as he squatted there on his stool, nimbly and eagerly cracking his nuts, he was certainly a strange sight. But his hands and feet were small and neatly shaped, and he had great liquid brown eyes, a sensitive mouth and soft light brown hair. In fact, although his face sat so pitifully low down between his shoulders, it could nevertheless almost have been called beautiful.
When he was seven he was sent to school, and now the years passed uniformly and rapidly. Every day, walking past the gabled houses and shops with the quaintly solemn gait that deformed people often have, he made his way to the old schoolhouse with its Gothic vaulting; and at home, when he had done his homework, he would perhaps read some of his beautiful books with their brightly colored illustrations, or potter about in the garden, while his sisters kept house for their ailing mother. The girls also went to parties, for the Friedemanns moved in the best local society; but unfortunately none of the three had yet married, for their family fortune was by no means large and they were distinctly plain.
Johannes, too, occasionally got an invitation from one or other of his contemporaries, but it was no great pleasure for him to associate with them. He was unable to join in their games, and since they always treated him with embarrassed reserve, it was impossible for any real companionship to develop.
Later there came a time when he would often hear them discuss certain matters in the school yard; wide-eyed and attentive, he would listen in silence as they talked of their passions for this little girl or that. Such experiences, he decided, obviously engrossing though they were for the others, belonged like gymnastics and ball games to the category of things for which he was not suited. This was at times a rather saddening thought; but after all, he had long been accustomed to going his own way and not sharing the interests of other people.
It nevertheless came to pass—he was sixteen years old at the time—that he found himself suddenly enamored of a girl of his own age. She was the sister of one of his classmates, a blond, exuberant creature whom he had met at her brother's house. He felt a strange uneasiness in her company, and the studied self-conscious cordiality with which she too treated him saddened him profoundly.
One summer afternoon when he was taking a solitary walk along the promenade outside the old city wall, he heard whispered words being exchanged behind a jasmine bush. He cautiously peeped through the branches, and there on a seat sat this girl and a tall red-haired boy whom he knew very well by sight; the boy's arm was round her and he was pressing a kiss on her lips, which with much giggling she reciprocated. When Johannes had seen this he turned on his heel and walked softly away.
His head had sunk lower than ever between his shoulders, his hands were trembling and a sharp, biting pain rose from his chest and seemed to choke him. But he swallowed it down, and resolutely drew himself up as straight as he could. "Very well," he said to himself, "that is over. I will never again concern myself with such things. To the others they mean joy and happiness, but to me they can only bring grief and suffering. I am done with it all. It is finished for me. Never again."
The decision was a relief to him. He had made a renunciation, a renunciation forever. He went home and took up a book or played the violin, which he had learned to do despite his deformity.
At seventeen he left school to go into business, like everyone else of his social standing, and he became an apprentice in Herr Schlievogt's big timber firm down by the river. They treated him with special consideration, he for his part was amiable and cooperative, and the years passed by in a peaceful and well-ordered manner. But in his twenty-first year his mother died after a long illness.
This was a great sorrow for Johannes Friedemann, and one that he long cherished. He savored this sorrow, he surrendered himself to it as one surrenders oneself to a great happiness, he nourished it with innumerable memories from his childhood and made the most of it, as his first major experience.
Is not life in itself a thing of goodness, irrespective of whether the course it takes for us can be called a "happy" one? Johannes Friedemann felt that this was so, and he loved life. He had renounced the greatest happiness it has to offer, but who shall say with what passionate care he cultivated those pleasures that were accessible to him? A walk in springtime through the parks outside the town, the scent of a flower, the song of a bird—surely these were things to be thankful for?
He also well understood that a capacity for the enjoyment of life presupposes education, indeed that education always adds at once to that capacity, and he took pains to educate himself. He loved music and attended any concerts that were given in the town. And although it was uncommonly odd to watch him play, he did himself become not a bad violinist and took pleasure in every beautiful and tender note he was able to draw from his instrument. And by dint of much reading he had in the course of time acquired a degree of literary taste which in that town was probably unique. He was versed in all the latest publications both in Germany and abroad, he knew how to savor the exquisite rhythms of a poem, he could appreciate the subtle atmosphere of a finely written short story . . . One might indeed almost say that he was an epicurean.
He came to see that there is nothing that cannot be enjoyed and that it is almost absurd to distinguish between happy and unhappy experiences. He accepted all his sensations and moods as they came to him, he welcomed and cultivated them, whether they were sad or glad: even his unfulfilled wishes, even his heart's longing. It was precious to him for its own sake, and he would tell himself that if it ever came to fulfillment the best part of the pleasure would be over. Is not the sweet pain of vague desires and hopes on a still spring evening richer in delight than any fulfillment the summer could bring? Ah yes, little Herr Friedemann was an epicurean and no mistake.
This was something of which the people who passed him in the street, greeting him with that mixture of cordiality and pity to which he had so long been accustomed, were doubtless unaware. They did not know that this unfortunate cripple, strutting so quaintly and solemnly along in his light gray overcoat and his shiny top hat (for oddly enough he was a little vain of his appearance) was a man to whom life was very sweet, this life of his that flowed so gently by, unmarked by any strong emotions but filled with a quiet and delicate happiness of which he had taught himself the secret.
But Herr Friedemann's chief and most absorbing passion was for the theater. He had an uncommonly strong sense of drama and at moments of high theatrical effect or tragic catastrophe the whole of his little body would quiver with emotion. At the principal theater of the town he had a seat permanently reserved for him in the front row, and he would go there regularly, sometimes accompanied by his three sisters. Since their mother's death they had lived on in the big house which they and their brother jointly owned, and did all the housekeeping for themselves and him.
They were, alas, still unmarried; but they had long reached an age at which one sets aside all such expectations, for the eldest of them, Friederike, was seventeen years older than Herr Friedemann. She and her sister Henriette were rather too tall and thin, whereas Pfiffi, the youngest, was regrettably short and plump. This youngest girl moreover had an odd habit of wriggling herself and wetting the corners of her mouth whenever she spoke.
Little Herr Friedmann did not pay much attention to the three girls, but they stuck loyally together and were always of the same opinion. In particular, whenever any engagement between persons of their acquaintance was announced, they would unanimously declare that this was very gratifying news.
Their brother went on living with them even after he had left Herr Schlievogt's timber firm and set up on his own by taking over some small business, some sort of agency which did not demand much exertion. He lived in a couple of rooms on the ground floor of the house, in order not to have to climb the stairs except at mealtimes, for he occasionally suffered from asthma.
On his thirtieth birthday, a fine warm June day, he was sitting after lunch in the gray tent in the garden, leaning against a new soft neck rest which Henriette had made for him, with a good cigar in his mouth and a good book in his hand. Now and then he would put the book aside, listen to the contented twittering of the sparrows in the old walnut tree and look at the neat gravel drive that led up to the house and at the lawn with its bright flower beds.
Little Herr Friedemann was clean-shaven, and his face had scarcely changed at all except for a slight sharpening of his features. He wore his soft light brown hair smoothly parted on one side.
Once, lowering the book right onto his lap, he gazed up at the clear blue sky and said to himself: "Well, that's thirty years gone. And now I suppose there will be another ten or perhaps another twenty, God knows. They will come upon me silently and pass by without any commotion, as the others have done, and I look forward to them with peace of mind."
It was in July of that year that the new military commandant for the district was appointed, a change of office that caused a considerable stir. The stout and jovial gentleman who had held the post for many years had been a great favorite with local society, and his departure was regretted. And now, for God knows what reason, it must needs be Herr von Rinnlingen who was sent from the capital to replace him.
It seemed, in fact, to be not a bad exchange, for the new lieutenant colonel, who was married but had no children, rented a very spacious villa in the southern suburbs, from which it was concluded that he intended to keep house in some style. At all events the rumor that he was quite exceptionally rich found further confirmation in the fact that he brought with him four servants, five riding and carriage horses, a landau and a light hunting brake.
Shortly after their arrival he and his wife had been to pay calls on all the best families, and everyone was talking about them; the chief object of interest however was definitely not Herr von Rinnlingen himself, but his wife. The men were dumbfounded by her and did not at first know what to think; but the ladies most decidedly did not approve of Gerda von Rinnlingen's character and ways.
"Of course, one can tell at once that she comes from the capital," observed Frau Hagenstrom, the lawyer's wife, in the course of conversation with Henriette Friedemann. "One doesn't mind that, one doesn't mind her smoking and riding—naturally not! But her behavior isn't merely free and easy, its unrefined, and even that isn't quite the right word . . . She's by no means ugly, you know, some might even think her pretty—and yet she totally lacks feminine charm, her eyes and her laugh and her movements are simply not at all calculated to appeal to men. She is no flirt, and far be it from me to find fault with her for that, goodness knows—but can it be right for so young a woman, a woman of twenty-four, to show absolutely no sign of . . . a certain natural grace and attractiveness? My dear, I am not very good at expressing myself, but I know what I mean. The men still seem to be quite stunned, poor dears: mark my words, they will all be sick to death of her in a few weeks' time."
"Well," said Fraulein Friedemann, "she has made a very good marriage, anyway."
"Oh, as to her husband!" exclaimed Frau Hagenstrom. "You should see how she treats him! You will see it soon enough! I am the last person to deny that up to a point a married woman should act toward the opposite sex with a certain reserve. But how does she behave to her own husband? She has a way of freezing him with her eyes and calling him 'mon cher ami' in pitying tones, which I find quite outrageous! You have only to look at him—a fine upstanding first-class officer and gentleman of forty, well behaved and well mannered and very well preserved! They've been married for four years . . . My dear . . ."
Table of Contents
About the Series
About This Volume
PART I. DEATH IN VENICE: THE COMPLETE TEXT
Introduction: Biographical and Historical Contexts
The Complete Text [Translated by David Luke]
PART II. DEATH IN VENICE: A CASE STUDY IN CONTEMPORARY CRITICISM
Critical History of Death in Venice
Psychoanalytic Criticism and Death in Venice
What Is Psychoanalytic Criticism?
Psychoanalytic Criticism: A Selected Bibliography A Psychoanalytic Perspective:
Rodney Symington, The Eruption of the Other: Psychoanalytic Approaches to Death in Venice
Reader-Response Criticism and Death in Venice
What Is Reader-Response Criticism?
Reader-Response Criticism: A Selected Bibliography A Reader-Response Perspective:
Lillian R. Furst, The Potential Deceptiveness of Reading in Death in Venice
Cultural Criticism and Death in Venice
What Is Cultural Criticism?
Cultural Criticism: A Selected Bibliography A Cultural Perspective:
John Burt Foster Jr., Why Is Tadzio Polish? Kultur and Cultural Multiplicity in Death in Venice
Gender Criticism and Death in Venice
What Is Gender Criticism?
Gender Criticism: A Selected Bibliography A Perspective on Gender and Sexuality
Robert Tobin, The Life and Work of Thomas Mann: A Gay Perspective
New Historicism and Death in Venice
What Is New Historicism?
New Historicism: A Selected Bibliography A New Historicist Perspective:
Russell A. Berman, History and Community in Death in Venice
Glossary of Critical and Theoretical Terms
About the Contributors
Reading Group Guide
"It may have been the stranger's perambulatory appearance that acted upon his imagination or some other physical or psychological influence coming into play, but much to his surprise he grew aware of a strange expansion of his inner being, a kind of restive anxiety, a fervent youthful craving for faraway humdrumplaces." -- from Death in Venice
When he crosses paths with a mysterious stranger while waiting at a tram stop in Munich, Gustav von Aschenbach is seized by a sudden need to escape the confines of his well-ordered life. An aging and successful writer, he yearns for "freedom, release, oblivion -- an urge to flee his work, the routine of a rigid, cold, passionate duty."
Aschenbach's wanderlust leads him to Venice, where the spiritual fulfillment he is seeking instead becomes an erotic quest with tragic consequences. Against the backdrop of a Venetian beachfront hotel, Thomas Mann charts the course of Aschenbach's infatuation with a fourteen-year-old Polish boy.
Aschenbach's relationship with Tadzio never progresses beyond one of sight -- they never exchange even a single word -- and yet for Aschenbach his passion intensifies with each passing day. Tadzio's youth and "truly godlike beauty" make Aschenbach acutely aware of his own rapidly fading years. He slides deeper into an abyss of his own making, even daring to follow Tadzio and his family through the streets of Venice.
As Aschenbach's preoccupation with Tadzio escalates into an obsession, so too does his determination to uncover the secret that is being harbored to protect the tourist trade -- Venice is bracing for an epidemic. When he finally learns that cholera has alreadyclaimed several lives, he refuses to leave the city as long as Tadzio remains.
Death in Venice was published on the eve of World War I, a decade after Mann's first novel, Buddenbrooks, had established him as a literary celebrity at the age of twenty-six. One of Mann's most celebrated and compelling works, Death in Venice embodies many of the themes that he expressed throughout his work -- particularly the conflict between the artist's inner self and outward persona. "It is a story of the voluptuousness of doom," Mann wrote about Death in Venice. "But the problem I had especially in mind was that of the artist's dignity."
A work of psychological intensity, Death in Venice is an exploration of art and beauty, life and death, obsession and reality, love and despair -- a graceful and tragic portrait of an aging man at odds with his soul.
- What was your initial perception of Aschenbach -- both as a writer and as a man -- and did that perception change as the story progressed?
- What ignites Aschenbach's wanderlust and compels him to leave his home on a holiday? What does he hope to gain during his travels?
- When Aschenbach sets out on his journey from Munich, he does not have a destination in mind. What ultimately leads him to Venice?
- In what ways does Aschenbach embody both his father's "sober, conscientious nature" and the "darker, more fiery impulses" (pg 12) of his mother?
- Other than physical beauty, what is it about Tadzio that attracts the interest of Aschenbach? Is the attraction merely sexual in nature, or does Tadzio represent something more to Aschenbach?
- How does Mann's use of Greek mythology illuminate Aschenbach's story?
- Is it possible to have a relationship with someone by sight only, as Aschenbach believes in regard to himself and Tadzio (with whom he never speaks directly)? Does Aschenbach imagine Tadzio's returned interest?
- How does Aschenbach's fervent interest in learning the truth about the cholera outbreak mirror his obsession with Tadzio?
- Why does Aschenbach decide to stay in Venice despite the risk of contracting cholera, a disease that is often fatal?
- The book's title is an indication of how the story ends. Did having this foreknowledge affect your reading of Death in Venice?
- How do you interpret the story's ending?
- What, in your opinion, is the message Mann is conveying in Death in Venice?
About the author
Thomas Mann was born in Lübeck, Germany, on June 6, 1875. His first novel, Buddenbrooks, a multi-generational saga based on his family history, was published in 1901. A vocal opponent of the Nazi regime, Mann and his wife moved to Switzerland in 1933, shortly after the Nazis came to power. He later became an American citizen and lived in Santa Monica, California from 1941 to 1953. He then returned to Europe and made his home in Zurich, where he died in 1955. Mann's other works include The Magic Mountain, Doctor Faustus, and The Beloved Returns. A revered essayist, cultural critic, and novelist, he was awarded the Nobel Prize for Literature in 1929.
Most Helpful Customer Reviews
Death in Venice by Thomas Mann Plot: Gustav von Aschenbach is a famous author in his early fifties who has recently been ennobled and thus acquired the aristocratic "von" to his name. He is a man dedicated to his art, disciplined and ascetic to the point of severity, who was widowed at a young age. As the story opens, while strolling outside a cemetery, he sees a coarse-looking red-haired man who stares back at him belligerently. Aschenbach walks away, embarrassed but curiously stimulated. Soon afterwards, he resolves to take a holiday. He decides on Venice, reserving a suite in the Grand Hôtel des Bains on the Lido island. Aschenbach checks into his hotel, where at dinner he sees an aristocratic Polish family at a nearby table. Among them is an adolescent boy in a sailor suit; Aschenbach, startled, realizes that the boy is beautiful. Soon afterward, after spying the boy and his family at a beach, Aschenbach overhears the lad's name, Tadzio, and conceives what he tells himself is an abstract, artistic interest. Soon the hot, humid weather begins to affect Aschenbach's health, and he decides to leave early and move to a more salubrious location. On the morning of his planned departure, he sees Tadzio again, and a powerful feeling of regret sweeps over him. When he reaches the railway station and discovers his trunk has been misdirected, he pretends to be angry, but is really overjoyed, for he did not want to abandon Tadzio; he decides to remain in Venice and wait for his lost luggage. He happily returns to the hotel, and as his admiration for Tadzio continues to grow, Aschenbach wishes to leave Venice dissipate. Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession, comparing his situation to Socrates wooing Phaedrus on desire and virtue. Aschenbach watches Tadzio constantly, and secretly follows him around Venice. One evening, the boy directs a charming smile at him, looking, Aschenbach thinks: like Narcissus smiling at his own reflection. Disconcerted, he rushes outside, and in the empty garden whispers aloud, "I love you!" Aschenbach next takes a trip into the city of Venice, where he sees a few discreetly worded notices from the Health Department warning of an unspecified contagion and advising people to avoid eating shellfish. He smells an unfamiliar strong odor everywhere, and later realizes it is disinfectant. However, the authorities adamantly deny that the contagion is serious and the tourists continue to wander round the city, oblivious. Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city. After being repeatedly assured that the sirocco is the only health risk, he finds a British travel agent who reluctantly admits that there is a serious cholera epidemic in Venice. Aschenbach decides to warn Tadzio's mother of the danger; however, he decides not to, knowing that if he does, Tadzio will leave the hotel and to his own amazement, Aschenbach realizes that he would not be able to go on living without Tadzio. One night, a dream filled with orgiastic Dionysian imagery reveals to him the sexual nature of his feelings for Tadzio. Afterwards, he begins staring at the boy so openly and following him so persistently that Aschenbach feels the boy's guardians finally notice, and take to warning Tadzio whenever he approaches too near the strange, solitary man. But Aschenbach's f
In looking at the really, really good translation of this work, I was struck (on page 3 of the three page sampling) that they, the translators, I presume, transiliterated "PrinzeregenzenstraBe" using the "B" instead of "ss"....sloppy, guys, sloppy. Made me not want to spend the $1 on a different translation. Had hoped to see something new, and, yes, I did!
Death in Venice is somewhat less disturbing than its subject matter might have you believe. Aging writer Gustav Von Auschenbach vacations at a beachfront resort in Venice, admiring the idyllic life but more and more becoming fascinated with the beautiful young son of fellow vacationers. Similar territory is traversed by Gabriel Garcia Marquez in the recent Memories of My Melancholy Whores, in which an aging writer finds himself fascinated with an underage virginal girl. Mann got there almost a century earlier, of course. Both books bear more similarities than differences -- the relationships are unconsummated and mostly in the imagination and desire of the protagonist, who is likely a thinly-veiled alter-ego of the author (Mann battled homosexual urges throughout his life, and the setting and characters of Death in Venice were inspired by a vacation taken by Mann and his wife). In both cases, it could be argued that the fascination is with the youthful verve and vitality of the subject rather than a purely sexual urge. Both stories are very slow-paced, relying on characters and exposition to drive the narrative. As a story, I found Death in Venice merely passable -- but as a work of literary art it is undeniably noteworthy.
I think this book is magnificent. It is very well written, the plot escalates in an astounding manner, and well Mann is just sincerely a genius. Despite the fact that this is a pedophiliac/homoerotic work, it truly talks about true love. Well atleast true love on behalf of the writer, because young Tadzio is oblivious to what Auschenbach truly feels, or even to his existence. I truly recommend this book, you will not want to put it down, once you start reading. TRULY AN AMAZING READ!!!
Old style prose with a good story of unreqited lust
For those legions of readers who consider Thomas Mann's DEATH IN VENICE one of the pinnacles of 20th Century literature, welcome to the feast! Michael Henry Heim has restudied and again translated this brief but poignant novella with an English version more in tune with Mann's novella and certainly, finally free from all the societal homophobic restrictions that have shrouded previous translations. This is the tale of a writer - Gustav von Aschenbach - in his fifties who feels the need for exotic travels to break his writer's block, and after many aborted attempts to find the right place, comes to Venice and not only falls under its spell but also finds his sublimated desires for pure beauty as focused on young men awakened in his encounter with the young Polish boy Tadzio. This story has been translated into other languages, transformed into film by Luchino Visconti and made into the last opera of Sir Benjamin Britten. But though the simple story has captivated our minds for many years, it has never been presented in so eloquent a fashion as in this Heim translation. To wit: 'On a personal level, too, art is life intensified: it delights more deeply, consumes more rapidly; it engraves the traces of imaginary and intellectual adventure on the countenance of its servant and in the long run, for all the monastic calm of his external existence, leads to self-indulgence, over refinement, lethargy, and a restless curiosity that a lifetime of wild passions and pleasures could scarcely engender.' When he first encounters Tadzio '...he was infused with a paternal affection, the attraction that one who begets beauty by means of self-sacrifice [a writer] feels for one who is inherently beautiful.' And 'Was it not common knowledge that the sun diverts our attention from the intellectual to the sensual? It benumbs and bewitches both reason and memory such that the soul in its elation quite forgets its true nature and clings with rapt delight to the fairest of sun-drenched objects, nay, only with the aid of the corporeal can it ascend to more lofty considerations.' Once von Aschenbach accepts the fact that he is in love with the idea of Tadzio he sets about to quash rumors of the threat that cholera is invading Venice to keep his Polish lad from leaving the city (and von Aschenbach) with his family. 'Thus the addled traveler could no longer think or care about anything but pursuing unrelentingly the object that had so inflamed him, dreaming of him in his absence, and, as is the lover's wont, speaking tender words to his mere shadow. Loneliness, the foreign environment, and the joy of a belated and profound exhilaration prompted him, persuaded him to indulge without shame or remorse in the most distasteful behavior, as when returning from Venice [to the Lido] late one evening he had paused at the beautiful boy's door on the second floor of the hotel and pressed his forehead against the hinge in drunken rapture, unable to tear himself away even at the risk of being discovered and caught.' Has Heim 'changed' Mann's story in to a more titillating one? No, indeed not! But he has rescued it from the mere Apollonian/Dionysian rhetoric with which other translations have cloaked the sensual aspects of the story. Here von Aschenbach becomes a fully three-dimensional character, one whose life up to the entry into Venice is understood and appreciated as a writer of brilliance, and one whose epiphany of the Eros submerged in this intellectual psyche blossoms in the most credible, tender way that far from being transformed into a 'pedophile', he is instead in that wondrous plane where awakened emotions of love and longing dwell. Michael Cunningham has written a beautiful introduction to this new translation and, as we have come to expect from this contemporary gifted man of letters, his words are warm and befitting his admiration for this work by Thomas Mann. This is a book to be read and read again, and should you have other versions of DEATH IN
This was my first encounter with Thomas Mann and his haunted protagonists who all seem to possess delicate blue viens as an integral part of their appearance. The stories that were especially memorable were 'Tobias Kruger' and of course 'Death in Venice', although all of the stories included in the collection were very readable. I felt that this edition was a good introduction to Thomas Mann, and my only critism was the front cover which solicited second looks from many fellow travellers on the subway.