Unravished Bride of Wednesday
Nov. 6th, 2019 01:07 pmWhat I've Finished Reading
Death in Venice is barely a book; it's halfway between a novella and a long short story (the edition I have bundles it in with seven other stories). Aschenbach, a writer with mortality on the brain, goes to Venice for a holiday, notices a beautiful young boy staying in his hotel, and becomes so obsessed with him that he can't think of anything else, and basically tricks himself into staying in Venice as a cholera epidemic drives the rest of the tourists away.
The boy, Tadzio, is Polish and the writer is German, which neatly eliminates any question of him accidentally trying to have a conversation with the boy and it accidentally coming out creepy. At one point, he notices that the boy looks a little consumptive:
Aschenbach is extra sensitive to the sadness of old guys because on his journey to Venice, there was a party of young men on holiday, all overdressed and fraternal and rowdy. But one of the guys in the group, he realizes to his horror, is not young at all, but OLD! He's dressed like the young men and acts just like them, but his hands are WRINKLED and his face is OLD. Why is he still pretending to be young? Why do the young guys even let him hang around them? The existence of this harmless stranger makes Aschenbach feel very bad about everything.
These feelings don't prevent Aschenbach from later getting his hair dyed and his skin "freshened up" in an attempt to get closer to Tadzio, but it does make him extra wistful about the prospect of young beauty made eternal by death. However, what actually happens is ( This is not really a spoiler because you will see it coming from 500 miles away like that guy in Lawrence of Arabia, but I still recommend watching it happen for yourself ) Thomas Mann seems he might be a hard guy to live with if he talks even a little like he writes, but I enjoy him.
What I'm Reading Now
The other stories bundled in with Death in Venice are not bad. My favorite right now is "A Man and His Dog," which is (thus far) literally just a guy describing his dog.
I was happy to see an entry for J.M. Barrie in the Library of the World's Best Literature, two years before the first appearance of Peter Pan. "The judgement of contemporaries is rarely conclusive; and we will not attempt to anticipate that of posterity. It may be said, however, that the best applicable touchstone of permanency is that of seeming continuously fresh to cultivated tastes after many readings; and that Mr. Barrie's four best books bear the test without failure."
Gravity's Rainbow continues exactly the same as before only more so.
What I Plan to Read Next
I brought back three more 99 Novels from the library, huge ones this time: Creation by Gore Vidal, Darconville's Cat by Alexander Theroux, and The Mosquito Coast by Paul Theroux - the latter is not as enormous as the other two and is probably just normal-sized. The other two are bricks. Creation charmed me right from the start because it's so unabashedly self-indulgent. The narrator is a Persian ambassador to Athens who has just heard a recitation by Herodotus and is upset. Now he is going to narrate a true account of some important events to his scribe, a conceit which will allow Gore Vidal to ramble down as many loosely connected paths as he pleases for as long as he feels like it.
Death in Venice is barely a book; it's halfway between a novella and a long short story (the edition I have bundles it in with seven other stories). Aschenbach, a writer with mortality on the brain, goes to Venice for a holiday, notices a beautiful young boy staying in his hotel, and becomes so obsessed with him that he can't think of anything else, and basically tricks himself into staying in Venice as a cholera epidemic drives the rest of the tourists away.
The boy, Tadzio, is Polish and the writer is German, which neatly eliminates any question of him accidentally trying to have a conversation with the boy and it accidentally coming out creepy. At one point, he notices that the boy looks a little consumptive:
"He is delicate, he is sickly," Aschenbach thought. "He will most likely not live to grow old." He did not try to account for the pleasure the idea gave him.
Aschenbach is extra sensitive to the sadness of old guys because on his journey to Venice, there was a party of young men on holiday, all overdressed and fraternal and rowdy. But one of the guys in the group, he realizes to his horror, is not young at all, but OLD! He's dressed like the young men and acts just like them, but his hands are WRINKLED and his face is OLD. Why is he still pretending to be young? Why do the young guys even let him hang around them? The existence of this harmless stranger makes Aschenbach feel very bad about everything.
These feelings don't prevent Aschenbach from later getting his hair dyed and his skin "freshened up" in an attempt to get closer to Tadzio, but it does make him extra wistful about the prospect of young beauty made eternal by death. However, what actually happens is ( This is not really a spoiler because you will see it coming from 500 miles away like that guy in Lawrence of Arabia, but I still recommend watching it happen for yourself ) Thomas Mann seems he might be a hard guy to live with if he talks even a little like he writes, but I enjoy him.
What I'm Reading Now
The other stories bundled in with Death in Venice are not bad. My favorite right now is "A Man and His Dog," which is (thus far) literally just a guy describing his dog.
I was happy to see an entry for J.M. Barrie in the Library of the World's Best Literature, two years before the first appearance of Peter Pan. "The judgement of contemporaries is rarely conclusive; and we will not attempt to anticipate that of posterity. It may be said, however, that the best applicable touchstone of permanency is that of seeming continuously fresh to cultivated tastes after many readings; and that Mr. Barrie's four best books bear the test without failure."
Gravity's Rainbow continues exactly the same as before only more so.
What I Plan to Read Next
I brought back three more 99 Novels from the library, huge ones this time: Creation by Gore Vidal, Darconville's Cat by Alexander Theroux, and The Mosquito Coast by Paul Theroux - the latter is not as enormous as the other two and is probably just normal-sized. The other two are bricks. Creation charmed me right from the start because it's so unabashedly self-indulgent. The narrator is a Persian ambassador to Athens who has just heard a recitation by Herodotus and is upset. Now he is going to narrate a true account of some important events to his scribe, a conceit which will allow Gore Vidal to ramble down as many loosely connected paths as he pleases for as long as he feels like it.