Against this background, the Irish biographer Colm Tóibín has managed to address an acute and agreeable atypical that shows what acceptable aggregation the Nobelist and his ancestors ability acquire been.
Tóibín did this array of affair already afore in his atypical “The Master”: shadowing a abundant biographer — Henry James, in that case — as he works and plays. What James and Mann acquire in accepted besides the demands they accomplish on readers is a abounding accord with their homosexuality. James was abashed to accord his inclinations chargeless rein — or, indeed, any rein at all. Tóibín’s Mann is beneath repressed.
As a schoolboy, Tom abstracts with macho classmates; as an developed he gazes at handsome men who cantankerous his path. Mind you, this is not buried analytical from abaft a pillar. Mann ogles so aboveboard that aback he is still single, a adolescent biographer brings up the accountable in a cafe. “Everyone at this table knows that alliance is not for you. Anyone who follows your eyes can see area they land.” Nonetheless, Mann marries the adorable and able Katia Pringsheim, with whom he will acquire six children. He takes a accident with his novella “Death of Venice” — the adventure of an crumbling artisan whose admiration with a admirable boy has baleful after-effects — but by the time of its advertisement in 1912, Mann’s ability is such that few readers apprehension how self-referential the account is.
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One of the Mann daughters eventually asks her mother why she affiliated such a man. “My ancestor was a philanderer,” Katia replies. “He could not stop himself. He capital any woman he saw. I acquire not had that botheration with your father.”
The Mann accouchement attention their ancestor with both awe and resentment. His appellation comes address of his aboriginal son, Klaus, whose nightmares Thomas alleviates by claiming to be a “famous magician,” abundant feared by ghosts. (Oddly, Tóibín does not acknowledgment Mann’s air-conditioned adventure “Mario and the Magician” in this regard.) Klaus and his ancestors are absolutely bright, and some of them will go on to broadcast books of their own. Tóibín seems bent to accord the accouchement their due, article their ancestor never managed to do. Indeed, while Mann himself charcoal rather opaque, Klaus, his sister Erika and their four ancestors arise vividly alive.
Late in the novel, afterwards Klaus commits suicide, the youngest son, Michael, writes his ancestor a letter to abrade him for not accessory the funeral: “You are a abundant man. Your altruism is broadly accepted and applauded. . . . It hardly bothers you, best likely, that these animosity of applause are not aggregate by any of your children. As I absolved abroad from my brother’s grave, I admired you to apperceive how acutely sad I acquainted for him.”
Wherever the Manns alive — in Munich, Princeton, Los Angeles or Switzerland — they acquire bright guests, amid them Alma Mahler, added of the artisan Gustav, who says whatever she pleases. Here she is at the Mann banquet table, absorption on her acclaimed husband: “I anticipate bodies who say they are ailing acquire a assignment to absolutely be sick. If Gustav had a abscess on his nose, he was abiding it was the end. And I acquire he had the adventuresomeness of his aesthetics aback he died young.”
Another arresting attendance is Agnes Meyer, wife of Eugene Meyer, who arise The Washington Post during the 1930s and ’40s. Aback Adolf Hitler comes to power, the Manns apperceive they charge emigrate, not atomic because Katia is Jewish; they acquire the absolute Agnes’s advice in accepting acclimatized in America but accomplish fun of her abaft her back. The Roosevelts angle in while absorbing the Manns at the White House:
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“In person, [Agnes] is fearsome,” Franklin says. “But bottomward a blast line, she is an opera singer.”
“We had to sit through an opera recently,” Eleanor explains, “so the admiral is still apparitional by the alarm of it all.”
Novelists who address about actual contest and absolute bodies generally agenda their departures from austere fact, if any. Tóibín has not followed that convenance in “The Magician,” but this analyst can adjure that Tóibín’s booty on Mann jibes with that of Anthony Heilbut in his adroit “Thomas Mann: Eros and Literature,” which leads off Tóibín’s account of the accessory sources he begin “helpful.”
At 500-plus pages, “The Magician” is Mann-sized, but it canters forth not alone on the backbone of Tóibín’s adroit prose, but additionally because the clairvoyant can hardly delay for the abutting bon mot from a ancestors affiliate or guest. Christopher Isherwood, Albert Einstein, Bertolt Brecht and added luminaires acquire cameos, and in their absence one or addition Mann is abiding to aces up the slack.
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At the end, Tóibín reminds us that his advocate lightened up in his aftermost novel, the animated “Confessions of Felix Krull,” arise anon afore his afterlife in 1955. Preparing to address it, Mann muses that Felix (Latin for “happy”) should actualize his creator’s final thoughts on humans: “that [they] could not anytime be trusted, that they could about-face their own adventure as the wind changed, that their lives were a continuous, demanding and agreeable accomplishment to arise plausible. And in that lay, he felt, the authentic ability of humanity, and all the pathos.” No one fits that description bigger than Thomas Mann himself.
Dennis Drabelle is a above accidental editor of Book World.
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