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El final
Por Thomas Mann
El monstruo más repulsivo de nuestro tiempo, el nacionalsocialismo, toca al término de su destino. Si la agonía fuese únicamente suya, y no, a la par, de la nación grande y desventurada que paga ahora su engreimiento, podríamos ver la catástrofe en aquella disposición de ánimo más fría de quien siente satisfacción ante lo que es justo y necesario.
Imposible es pedir de las naciones ultrajadas de Europa, del mundo entero, que establezcan una línea divisoria bien definida entre el nazismo y el pueblo alemán. El mundo ha pasado ya por cinco años de una guerra llena de sacrificios y padecimientos; guerra que desencadenó Alemania, y desde cuyo primer día se vieron los contendores de Alemania frente a la inventiva, el valor, la inteligencia, la disciplina, la eficiencia militar alemanas: en suma, frente a todo el poderío de la nación que sostenía el régimen en ella imperante y daba sus batallas. No se vieron esos contendores frente a Hitler y a Himmler, que nada habrían valido sin el brío y la ciega lealtad del hombre alemán que, con descarriado valor, combatía y moría por semejantes criminales.
Nadie puede negar que el “despertar nacional” de 1933 poseía la fuerza misteriosa de las revoluciones auténticas. Pero sus características más notorias denotaban a lo que nace maldito y sin esperanza. “Las grandes revoluciones”, escribí en aquel entonces en mi diario, “despiertan, por lo general, simpatía y admiración universales, por la generosidad impetuosa que las anima. ¿Qué hay en esta revolución ‘alemana’ para que aísle de tal modo a la nación, para que engendre sólo incomprensiva repulsa dondequiera? Se jacta de no haber derramado sangre; y es, sin embargo, la más vindicativa y sanguinaria que ha habido nunca. Lo fundamental en ella son el odio, el rencor, la venganza, la vileza. Puedo ser mucho más sangrienta, y aun así la habría admirado el mundo, si hubiese sido, al propio tiempo, más pura, más cara, más noble. Les estaba reservado a los alemanes hacer una revolución nunca vista antes: revolución contra el pensamiento, la libertad, la verdad y la justicia. Y todo esto va acompañado del regocijo formidable de las multitudes, que juzgan haber consumado sus propósitos, cuando, en realidad, sólo han padecido engaño a manos de astuta demencia”.
The sad thing about Thomas Mann is that he really believed that he did not take himself seriously, when what leaps out at you, from novels, essays, letters and diaries alike, is his utter belief in his own immortality. On one occasion, in order to play down the merits of his novella Death in Venice, which an American was praising to the skies, all he could think of to bring his admirer down to earth was this: “After all, relatively speaking, I was still a beginner. A beginner of genius but still a beginner.” Once he was no longer a beginner, he considered himself capable of the greatest achievements, and, in a letter to the critic Carl Maria Weber, spoke confidently of “the great story that I have yet to write”. [...] It is surprising to learn that Mann believed that great books were the result of modest intentions, that ambition should not come first and should not precede the work, that it should be bound up with the work and not with the ego of its creator. “There is nothing falser than ambition in the abstract, than ambition itself, independent of the work, the pallid ambition of the ego. Anyone who harbours such feelings is behaving like a sick eagle,” he wrote. Given his own ambitions, both expressed and unexpressed, one would have to conclude that the illness from which the eagle Mann was suffering was nothing less than blindness. Speaking to an old school friend about death, he commented: “As immortalised by me in The Magic Mountain.” Only someone with ambitions and who took himself very seriously indeed could gravely note down in his diary one day in 1935: “Letter in French from a young writer from Santiago de Chile, informing me of my influence on new Chilean literature.” I cannot help underlining four words: the first two are “informing me,” the second is “influence”, the third is “Chilean.”
Javier Marías, Written Lives, trans. Margaret Jull Costa
mailman brought me a beautiful gift
“And life? Life itself? Was it perhaps only an infection, a sickening of matter? Was that which one might call the original procreation of matter only a disease, a growth produced by morbid stimulation of the immaterial? The first step toward evil, toward desire and death, was taken precisely then, when there took place that first increase in the density of the spiritual, that pathologically luxuriant morbid growth, produced by the irritant of some unknown infiltration; this, in part pleasurable, in part a motion of self-defense, was the primeval stage of matter, the transition from the insubstantial to the substance. This was the Fall.” ― Thomas Mann, The Magic Mountain

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Death in Venice, Thomas Mann
Thomas Mann’s Death in Venice is a classic modernist novella exploring beauty, obsession, and artistic discipline through the tragic unraveling of an aging writer in a decadent, cholera-stricken Venice. A foundational work of queer literature and psychological fiction, it remains as unsettling and luminous today as when it was first published.
Thomas Mann’s Death in Venice is a classic modernist novella exploring beauty, obsession, and artistic discipline through the tragic unravel
Thomas Mann ist Thomas Mann.
Thomas Mann
Il tempo, in verità, non ha cesure, all’inizio di un nuovo mese o di un nuovo anno non ci sono tempeste o squilli di tromba, e persino l’inizio di un nuovo secolo siamo solamente noi uomini ad accoglierlo con colpi di cannone e fanfare.