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Doctor Faustus: The Life of the German Composer Adrian Leverkuhn as Told by a Friend Paperback – Jul 27 1999
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About the Author
Thomas Mann was born in 1875 in Germany. He was only twenty-five when his first novel, Buddenbrooks, was published. In 1924 The Magic Mountain was published, and, five years later, Mann was awarded the Nobel Prize for Literature. Following the rise of the Nazis to power, he left Germany for good in 1933 to live in Switzerland and then in California, where he wrote Doctor Faustus (first published in the United States in 1948). Thomas Mann died in 1955.
From the Hardcover edition.
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Top Customer Reviews
The philosophical ramblings of "The Magic Mountain" are similar--the Dionysian Weltanschaung of the Jesuit (Naphta) and The Voluptuary (Peeperkorn) versus the Appolonian (Settembrini) are used as metaphors for a debauched and dying Old Europe versus the New Europe to be reborn after the convulsions of World War I. And they are also symbolic of the failure of "pure reason" and politically correct Art to save a society with no soul, where human lives are scored on a worth-scale and have no intrinsic value as endowed by their Creator. In "Dr. Faustus", Mann revisits the German split personality (order versus bloody chaos) and makes it more intimate; he desperately wants to unearth what is it about the German Soul that gave us both World War I and then its offspring World War II and Hitler. Mann spends the rest of the book examining the German soul in the character of Adrian Leverkuehn and the forces influencing his life.
This is a brilliant book in that it takes the favorite Faust theme so loved by the Germans and re-tells it in a compelling fashion. Where the reader will have difficulty is that they will miss many of the character names that are sly jokes (if you are not a German speaker), and in following Mann's dense prose, followed by digressions into his own musings. And then you need to be somewhat familiar with European history and cultural icons.
Leverkuehn sells his soul to the Devil for the ability to compose the world's most perfect musical work.Read more ›
This book is not an easy read - you'll have it hard - but it's worth the effort. The prose style is complex, perhaps partly due to the long windedness of the German language but also due to Mann's prose style. However, it is enjoyable and pleasantly challenging in its complexity, convoluted in a charming way.
My own knowledge of music theory is really too limited to have gotten much out of the occasional passage regarding the development of music. If you are not "au fait" with counterpoint, polyphony, chords and harmony you will have to drudge through these sections but they are few. Despite not being an aficionado of classical music, I enjoyed the discussion of Beethoven and how not being able to hear was in some way liberating to him as a composer.
I can see parallels between the idea that Leverkuhn is trying to somehow move music forward in an age where it is difficult to avoid being accused of rehashing the old or find something new which is actually worth listening to and Mann's experience as a writer, trying to move the novel forward in a fresh new way. In the same way that Lvekuhn adheres to a rigid system and tries to develop something free and beatiful within the constricts of that system, I wonder if Mann is not also attempting something similar in literature.
I found it interesting to read what is essentially an apology from a German humanist for the terrible deeds of his nation during its Nazi love affair.
I think I will read something lighter to rest my weary brain but I am now a fan of Herr Mann.
As always, Mann's work is full of philosophical and theological debates, and there is also a good deal of musical discussion here as well. Adrian's deal with the dark one is a metaphor for Germany in the period during and between the two great World Wars. Like his homeland, Adrian becomes obsessed with power and glory, and revolutionizes music to such a great extent that the outside world is repulsed by it. In the end, like Germany, his power and glory come to an end, and as Serenus (the narrator of the story) sits writing in the midst of the allied invasion of Germany, Adrian is finally called to pay his debt.
Mann's narrative is always very compelling, and this is no exception. And, as usual, there is much deeper meaning than what is perceived at the surface, and the poignant and important message of the novel is the danger of becoming over-greedy for power, and of falling victim to one's own ambitions (as both Adrian and Germany do). Adrian loses his ability to love, and he can never regain it, not even when he ultimately seeks redemption. This is a great spin on the Faustian concept, and also a very powerful novel about the effects of the German Reich during World Wars 1 and 2.
Most recent customer reviews
Mann's gorgeous, rich prose cannot save this dull, plodding tale from being an ordeal to read. The same density of language which charms the reader in the beginning becomes an... Read morePublished on April 20 2004 by Peter
A theme of good and evil,a tale about a genius who has trouble dealing with himself, a story of love of music and a life of suffering, that glues one to the pages. Incredible.Published on March 20 2003 by chubchik
In this reenactment of the ancient Western myth of Faustus, Thomas Mann tells us the story of German composer Adrian Leverkuhn, a man obsessed with themes of mathematics, theology... Read morePublished on Nov. 13 2002 by Guillermo Maynez
What moved me to write my 'review' is the disturbing sometimes tone of the other commentaries.
The whole point that makes Thomas Mann writing so interesting, is its honesty... Read more
The German obsession with the legend of Faust is updated richly and memorably in what may well be Thomas Mann's greatest achievement. Read morePublished on May 10 2001 by David Scott Goen
Study the mind of a genius and the soul of a mad man. Witness the depths of depression and heights of creation with demonic infection. Read morePublished on March 13 2000 by Eilif A. Heyerdahl
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