Quote of the Day (Thomas Mann, on Space, Time, and Forgetfulness)

“Space, like time, engenders forgetfulness; but it does so by setting us bodily free from our surroundings and giving us back our primitive, unattached state. Yes, it can even, in the twinkling of an eye, make something like a vagabond of the pedant and Philistine. Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.”—German novelist and Nobel Literature laureate Thomas Mann (1875-1955), The Magic Mountain, translated by H.T. Lowe-Porter (1924)

Quote of the Day (Klaus Mann, on a Real Figure of Horror)

“The minister of propaganda, overlord of the spiritual life of millions, limped nimbly through the glittering throng which bowed down before him. An icy wind seemed to blow as he passed. It was as though an evil, solitary and cruel god had clambered down among the everyday bustle of pleasure seeking, cowardly, pitiful mortals. For several seconds the whole company remained as if paralyzed with horror….Hate and humility shone in the timid gazes turned on the fearsome dwarf. The object of attention tried an affable smile, which stretched his thin-lipped mouth from ear to ear, to soften the dreadful spell he cast about him. With a friendly expression in his sly, deep-set eyes, he was at pains to charm and placate. Dragging his clubfoot gracefully behind him, he moved agilely through the room, showing these two thousand slaves, fellow-travelers, swindlers, dupes and fools the profile of a bird of prey. All the while his eyes bore a malicious, abstracted smile as they flitted over the group of millionaires, ambassadors, regimental commanders and film stars. It was when he came to the director of the state theater, Hendrik Hofgen, privy councillor and senator, that his glance at last came to rest.”—German novelist Klaus Mann (1906-1949), Mephisto, translated by Robin Smyth (original publication, 1936; English translation, 1977)

When I was considering a literary work that conveyed an essential quality associated with Halloween, I thought of how the horror genre in fiction and film often acted as a metaphor for the terror of everyday life. Then I imagined instances of how actual historic terror needed little artifice. Nothing to my mind surpasses the rise of Nazism and the monstrous evil it unleashed on the world.

The Faust legend of bartering one’s soul to the Devil, which originated with an actual historical German alchemist of the Renaissance, has long fascinated intellectuals and entertainers in the land in which he was born, but few figures as much as Nobel Literature laureate Thomas Mann and his son Klaus. Both made their Faust stand-in a member of the German culturati: the fictional composer Adrian Leverkühn in Thomas' four-decade saga Doktor Faustus, the actor-turned-theater director Hendrik Hofgen in Klaus’ Mephisto.

Despite choosing the same legend as the source of their work, Thomas and Klaus treated their subjects quite differently. Doktor Faustus is oblique, even elliptical in tying the fate of its protagonist to that of the Third Reich as a whole. In contrast, as seen here, Mephisto is a searing satire of intellectuals exchanging what are ostensibly supposed to be their greatest ideals for personal advancement.

In the opening chapter from which the above quote comes, Klaus Mann gives no names to the members of the Nazi hierarchy, but he identifies them by title and physical appearance so exactly that nomenclature is unnecessary. 

That’s particularly the case with minister of propaganda Joseph Goebbels—rendered here in all his physical and moral deformity, in a fashion perhaps only surpassed by King Richard III as dramatized by William Shakespeare.

The figure approached by Goebbels at the end of this quote—making his stage entrance, as it were—is Hendrik Hofgen. The actor-director, about to be complimented by both Goebbels and the propaganda chief’s rival in Adolf Hitler’s circle, Herman Goering, has achieved a career zenith with his production of Goethe’s Faust, in which he has played Mephistopheles, the wily devil who lures Faust into surrendering his soul.

That production will become a defining one, as Hofgen bargains away what he cares for the most—his art—in an attempt to ally with the evil regime stalking his nation.

If the portrait of Hofgen becomes so lacerating, it is partly because Mann knew his subject at close range. The real-life inspiration for Hofgen, Gustaf Gründgens, was in fact Mann’s onetime brother-in-law and fellow sympathizer with the left, but had long since yielded both the family connection and his politics. 

Klaus shared the opinion of his sister Erika that Grundgens’ Weimar-era leftism was “insincere, snobby, and quasi-opportunistic.”

“Opportunistic”—maybe one of the best adjectives one can come up with to describe how the monsters marauding geopolitics came to establish their shadowy dominion. A monster does not rise unaided, but instead with what Klaus Mann aptly summarized as “slaves, fellow-travelers, swindlers, dupes and fools.”

Hitler may have used Goebbels to spread hatred and untruths through radio, movies and theater, just as Donald Trump has employed Steve Bannon to broadcast “alternative facts” through social media. But propaganda mavens need their own henchmen. Bannon has found his among GOP lawmakers on Capitol Hill too terrified of their once and future Presidential standard-bearer.

In the 1930s, Germany—the land that had given the world Martin Luther, the author of The Freedom of a Christian—found itself under the sway of Goebbels, “overlord of the spiritual life of millions.” Those intellectuals and entertainers who, unlike the Mann family, did not go into exile soon learned to look the other way, then bend, smile and fawn over the thugs now running their country. 

The “dreadful spell” cast by Goebbels and his minions continues to be felt by the all too susceptible members of our world, three-quarters of a century after the fall of the prematurely named “Thousand-Year Reich.”

Quote of the Day (Thomas Mann, on Christmas Season in 19th Century Germany)

“The great dining-room was closed and mysterious, and there were marzipan and gingerbread to eat — and in the streets, Christmas had already come. Snow fell, the weather was frosty, and on the sharp clear air were borne the notes of the barrel-organ, for the Italians, with their velvet jackets and their black moustaches, had arrived for the Christmas feast. The shop-windows were gay with toys and goodies; the booths for the Christmas fair had been erected in the market-place; and wherever you went you breathed in the fresh, spicy odour of the Christmas trees set out for sale.”—German novelist and Nobel Literature laureate Thomas Mann (1875-1955), Buddenbrooks (1901), translated by H. T. Lowe-Porter (1924

Quote of the Day (Thomas Mann, on ‘The Artist's Highest Joy’)

“Thought that can merge wholly into feeling, feeling that can merge wholly into thought — these are the artist's highest joy.” — German novelist and Nobel Literature laureate Thomas Mann (1875-1955), Death in Venice, translated by H.T. Lowe-Porter (1911)

Bonus Quote of the Day (Thomas Mann, on a ‘Luminous’ Munich on the First Day of June)

“Munich was luminous. A radiant, blue-silk sky stretched out over the festive squares and white-columned temples, the neoclassical monuments and Baroque churches, the spurting fountains, the palaces and gardens of the residence, and the latter’s broad and shining perspectives, carefully calculated and surrounded by green, basked in the sunny haze of a first and lovely June day.”—German Nobel Literature laureate Thomas Mann (1875-1955), “Gladius Dei” (1902), in Death in Venice and Other Tales, translated by Joachim Neugroschel (1998)

This quote was too beautiful not to highlight on this day.

Quote of the Day (Thomas Mann, on a Wine Bottle--Beautiful Outside, Awful Inside)

“[T]he firm of Engelbert Krull paid unusual attention to the outside of their bottles, those final adornments that arc technically known as the coiffure. The compressed corks were secured with silver wire and gilt cords fastened with purplish-red wax; there was, moreover, an impressive round seal — such as one sees on ecclesiastical bulls, and old state documents — suspended from a gold cord; the necks of the battles were liberally wrapped in gleaming silver foil, and their swelling bellies bore a flaring label with gold flourishes round the edges. This label had been designed for the firm my godfather Schimmelpreester and bore a number of coat of arms and stars, my father’s monogram, the brand name, Loreley extra cuvee, all in gold letters, and a female figure, arrayed only in bangles and necklaces, sitting with legs crossed on top of a rock, her arm raised in the act of combing her flowing hair. Unfortunately it appears that the quality of the wine was not entirely commensurate with the splendour of its coiffure. ‘Krull,’ I have heard my godfather Schimmelpreester say to my father, ‘with all due respect to you, your champagne ought to be forbidden by law. Last week I let myself be talked into drinking half a bottle, and my system hasn’t recovered from the shock yet. What sort of vinegar goes into that brew? And do you use petroleum or fusel oil to doctor it with? The stuff’s simply poison. Look out for the police!’”—German novelist and Nobel Literature laureate Thomas Mann (1875-1955), Confessions of Felix Krull, Confidence Man, translated by Denver Lindley (1955),

Quote of the Day (Thomas Mann, on the Exclusivity of Stories)

“Not every story happens to everyone.”—German Nobel Prize-winning novelist, short-story writer, and essayist Thomas Mann (1875-1955), in his introduction to The Magic Mountain (1924)

Quote of the Day (Thomas Mann, on Europe on Edge, 100 Years Ago)

“It was a spring afternoon in that year of grace 19-, when Europe sat upon the anxious seat beneath a menace that hung over its head for months.” — German novelist and Nobel Literature laureate Thomas Mann (1875-1955), Death in Venice (1911)

It might be more appropriate for today’s “menace”—nationalism/fascism revived—to appear while we wait for the cold of winter to arrive…

Quote of the Day (Thomas Mann, on Why Speech is ‘Civilization Itself’)

“Speech is civilization itself. The word, even the most contradictory word, preserves contact — it is silence which isolates.”— German novelist and Nobel Literature laureate Thomas Mann (1875-1955), The Magic Mountain (1924)

Quote of the Day (Thomas Mann, on Life as a ‘Thing of Goodness’)

“Is not life in itself a thing of goodness, irrespective of whether the course it takes for us can be called a ‘happy’ one?”—Thomas Mann, Death in Venice and Other Stories (1912)