"Rensirg the Emergence of the Gay Novel English and German" by Jam P. Wilper

gay german writers

30 Nov 2024

Bgraphi and analysis of work by Lbian, Gay, Bisexual, and Transgenr+ intified artists, or works associated wh LGBT+ topics.

THE GREAT GAY-JEWISH POETRY BRAWL OF 1829

* gay german writers *

Please don't add gay romance books, there is another list for that. And to what extent do gay wrg have a duty to be subversive or polil? Simon Froehlg’s Long Days of Night pats a vivid picture of the vibrant gay scene Zürich and shows a uple who meet and hook up sually, not realizg that they will soon be thrown together after one of the men tts posive for HIV.

This discsn will center on the tersectn between LGBTQ wrg and polics, to class and race inty, to gay persecutn both historil and ntemporary, explorg what means to be a sexual mory today’s polil climate, and HIV/AIDS activism and awarens both then and now.

Sebastian Bleisch (born 10 June 1957), real name Norbert Bleisch, is a German wrer and film director of gay pornographic movi which feature part unrage actors. Richard Plant (July 22, 1910 – March 3, 1998) was a gay Jewish emigre om Nazi Germany first to Swzerland and then to the U.

CLASSIC GAY MALE LERATURE

But ’s also a time to honor the people who have paved the way for gay rights activism, like Sylvia Rivera and Marsha P. Johnson, along wh Rivera, was a central figure the begng of the gay liberatn movement of the 1970s the Uned Stat. Baker also served as a spy for the French durg World War II, passg along secrets she heard while performg for German Herich Ulrichs Ulrichs is regard by some as the pneer of the morn gay movement and the first person to publicly “e out.

” In fact, Volkmar Sigch, a leadg German scholar sexual science, scribed him as “the most cisive and fluential pneer of homosexual emancipatn … world history. ” Ulrichs was a judge Germany but was forced to rign 1854 after a lleague disvered he was gay.

After he rigned, he beme an activist for gay rights.

BEAR-MAGAZINE.COM GAY GERMAN WRITERS

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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Thomas Mann smokg a cigar and wrg on a piece of paper." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Mann is a solemn trickster who is never altogether earnt about anythg.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty the Thomas Mann Archive at the ETH Biblthek Zurich</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button 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viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">In 1950, a Briefly Noted reviewer this magaze ma short work of “The Thomas Mann Rear,” an anthology culled om the German novelist’s vast prose output: “The total imprsn created by this three-hundred-thoand-word monument is that Mann is a major wrer, but perhaps not all <em>that</em> major.” A <em>New Yorker</em> subscriber Los Angel, ridg at 1550 San Remo Drive, Pacific Palisas, was annoyed. “Y, I may well be a ‘major thor,’ ” Thomas Mann wrote to a iend, “ ‘but not that major.’ ” The creator of “Ton Kröger” and “Death Venice” was at the summ of his fame, yet many younger crics dismissed him as a bourgeois relic, irrelevant the age of bebop and the bomb. Another mentator numbered Mann among those “lerary monolhs who have outlived their proper time.”</p><p class="paywall">In Germany, that verdict did not hold. Cir 1950, Mann was a divisive figure his homeland, wily cricized for his belief that Nazism had ep roots the natnal psyche. Havg gone to exile 1933, he refed to move back, dyg Swzerland 1955. Over time, his sweepg analysis of German rponsibily, om which he did not exclu himself, ceased to be ntroversial. More important, his fictn found rears each new generatn. The accumulatn of German-language lerature about him and his fay is immense, approachg Kennedyque dimensns. Whatever ristance Mann spir—Bertolt Brecht voiced the standard objectn llg him “the starched llar”—his chsboard mastery of German prose is not to be nied, nor n a certa historil nobily be taken om him. It is impossible to talk serly about the fate of Germany the twentieth century whout reference to Thomas Mann.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">In Ameri, however, one n ast through a liberal-arts tn whout havg to al wh Mann. General rears are unrstandably hant to plunge to the Hanseatic nce of “Budnbrooks” or the sanatorium symposia of “The Magic Mounta,” never md the milogil diabolism of “Doctor Fst” or the Biblil mythography of “Joseph and His Brothers.” There was an upsurge of tert the neteen-eighti and neti, when the publitn of Mann’s diari revealed the pervasivens of his same-sex sir. Four bgraphi appeared, and Knopf released fe new translatns of the major novels, by John E. Woods. Then the ra of worthy dullns settled back place. Two recent books—Colm Tóibín’s novel “The Magician” (Scribner), an absorbg but unchallengg fantasia on Mann’s life; and a problematic reissue, om New York Review Books, of Mann’s nservative manifto “Reflectns of a Nonpolil Man”—probably won’t disturb the nsens.</p><p class="paywall">Bee I have been almost unhealthily obssed wh Mann’s wrg sce the age of eighteen, I may be ill-equipped to w over skeptics, but I know why I return to year after year. Mann is, first, a supremely gifted storyteller, apt at the slow wdup and the rapid turn of the screw. He is a solemn trickster who is never altogether earnt about anythg, pecially his own grand Goethean persona. At the heart of his labyrth are scen of emotnal chaos, episos of philosophil lirium, timatns of human ldns. His polics traverse the twentieth-century spectm, richettg om right to left. His sexualy is an exhibnistic enigma. In life and work alike, his ntradictns are prsed together like layers metamorphic rock. It is the nature of monolhs not to grow old.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The Magician was a nickname btowed on Mann by his children, and nveys the distance he mataed even wh those clost to him. Tóibín’s novel of that tle is a follow-up to his prev meta-lerary fictn, “The Master” (2004), which lv to the shadowy world of Henry Jam. Tóibín, wh a style as spare as Mann’s is ornate, brgs a measure of warmth to an outwardly chilly figure. Tóibín’s Mann is a befuddled, self-preoccupied, not unlikable loner, pulled this way and that by potent personali around him, the most potent beg his wife, Katia Prgsheim Mann, the scn of a wealthy and cultured Jewish fay.</p><p class="paywall">At first glance, Tóibín’s unrtakg seems superfluo, sce there are already a number of great novels about Thomas Mann, and they have the advantage of beg by Thomas Mann. Few wrers of fictn have so relentlsly rporated their own experienc to their work. Hanno Budnbrook, the proud, hurt boy who improvis Wagnerian fantasi on the piano; Ton Kröger, the proud, hurt young wrer who sacrific his life for his art; Prce Kls Herich, the hero of “Royal Highns,” who rigidly performs his duti; Gtav von Aschenbach, the hibound lerary celebry who los his md to a boy on a Venice beach; Mut-em-e, Potiphar’s wife, who falls sperately love wh the handsome Israele Joseph; the nfince man Felix Kll, who fools people to thkg he is more imprsive than he is; the Fstian poser Adrian Leverkühn, who is pared to “an abyss to which the feelgs others exprsed for him vanished soundlsly whout a trace”—all are avatars of the thor, sometim channellg his letters and diari. Mann liked to say that he found material rather than vented —a play on the verbs <em>fn</em> and <em>erfn</em>.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Woman has a moat around her cubicle." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Sce you somehow managed to get past my moat, I’ll give you a few mut.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by P. 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Vey</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Mann’s most dizzyg self-dramatizatn n be found the novel “Lotte Weimar,” om 1939. It tells of a straed rnn between the agg Goethe and his old love Charlotte Buff, who, s earlier, had spired the character of Lotte “The Sorrows of Young Werther.” Goethe is endowed wh Mannian tras, flattergly and otherwise. He is a man who feeds on the liv of others and appropriat his discipl’ work, stampg all of wh his parasic geni. Mann, too, left untls lerary victims his wake, cludg members of his fay. One of them is still wh : his grandson Frido, who loved his Opa’s pany and then disvered that a fictnal versn of himself had been killed off “Doctor Fst.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">It is only ftg, then, that Mann should fall prey to his own vasive tactics. The early chapters of Tóibín’s novel re-create the csh on boys that Mann endured his youth, the North German cy of Lübeck. We meet Arm Martens, wh whom Mann took long, yearng walks. Tóibín wr, “He wonred if Arm would show him some sign, or would, on one of their walks, allow the nversatn to move away om poems and mic to foc on their feelgs for each other. In time, he realized that he set more store by the walks than Arm did.” The qutn is how much this adds to the parallel narrative of “Ton Kröger,” which was bold for 1903: “He was well aware that the other attached only half as much weight to the walks together as he did. . . . The fact was that Ton loved Hans Hansen and had already suffered much over him. Whoever lov more is the subordate one and mt suffer—his fourteen-year-old soul had already received this hard and simple lson om life.”</p><p class="paywall">Tóibín don’t adhere exclively to the bgraphil rerd, and his most cisive terventn the realm of sex. In all likelihood, Mann never engaged anythg remblg what ntemporary sensibili would classify as gay sex. His diari are reliable factual matters and do not shy away om embarrassg tails; we hear about erectns, masturbatn, nocturnal emissns. But he clearly has trouble even picturg male-on-male actn, let alone participatg . When, 1950, he reads Gore Vidal’s “The Cy and the Pillar,” he asks himself, “How n one sleep wh gentlemen?” The Mann of “The Magician,” by ntrast, is allowed to have several same-sex enunters, though the tails rema vague.</p><p class="paywall">In the most memorable sequence of Tóibín’s novel, sexualy and polics are terwoven, wh gently wrenchg nsequenc. In the sprg of 1933, Mann, then a few months to his exile, was agonizg over the fate of his old diari, which had been left behd at the fay hoe, Munich. Bee he had renounced right-wg natnalism the prev , the Nazi regime viewed him as a traor—Rehard Heydrich wanted to have Mann arrted—and the diari uld have been ed to his reputatn. Mann’s son Golo had packed them a suse wh other papers and had them shipped to Swzerland. For several weeks, nothg was livered. “Terrible, even adly thgs n happen,” Mann wrote a diary entry late April. Des later, beme known that a German borr officer had waylaid the suse but had paid attentn only to a top layer of book ntracts. The ntracts were sent to Heydrich’s polil police, examed, and sent back, wherpon the suse was allowed to proceed.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Tóibín vividly evok Mann’s panic when the diari went missg. In a wonrful tail, the protagonist asks a Zurich bookshop for a bgraphy of Osr Wil: “While he did not expect to go to prison as a rult of any disclosur, as Wil did, and he was aware that Wil’s life had been dissolute, as his had not, was the move om famo wrer to disgraced public figure that terted him.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="59nmkp"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="b6ck4"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">While Mann ets, he rells an episo that the diari would have revealed: his fatuatn, 1927, at the age of fifty-two, wh an eighteen-year-old named Kls Hser. Mann stroyed diari om the perd—the extant volum are om 1918 to 1921 and om 1933 to 1955—but subsequent ments suggt that he nsired this his only nsummated relatnship wh a man. Tóibín scrib th: “Thomas stood up and went to the books. Before he had time to pose himself and listen out for Kls’s breath, Kls had moved swiftly across the room, graspg Thomas’s hands for a moment and then edgg him around so that they faced each other and started to kiss.” There we break off, wh further fumblg implied.</p><p class="paywall">Passag the later diari might lead to believe that somethg of the sort occurred: Mann dit that he drew Hser to his arms and kissed him on the lips. There is, however, rival ttimony. In 1986, the scholar Karl Werner Böhm tracked down Hser, who, turned out, was gay. Hser said that nothg remotely sexual had taken place wh Mann; ed, he had no klg of any erotic tert on the part of this kdly and rerved olr gentleman.</p><p class="paywall">To the morn eye, Mann may seem pathetilly reprsed. But om another perspective—one no ls morn—there is somethg honorable his activy. To have done anythg more wh Hser, the son of fay iends, would have been predatory. Granted, was not an ethil nsiratn that stopped him; was a terror of the physil. (If Hser had been as forward as he is “The Magician,” Mann would probably have bolted om the room.) In any se, the enunter didn’t leave Mann a state of tratn; stead, he felt lastg joy. Years later, he thought back on the Hser adventure wh “pri and gratu,” bee was the “unhoped-for fulfillment of a lifelong yearng.”</p><p class="paywall">All the while, Mann was ensnced a reasonably happy marriage—one wh enough of a physil ponent that six children rulted om . “The Magician” is notable for s rich portra of the strong-willed, sharp-wted Katia Mann, who studied mathematics before marriage end the possibily of an amic reer. The tw sister of a gay man, Katia was alert to her hband’s sporadic csh on llege-age lads; she also knew that nothg would e of them. When, 1950, Mann beme botted wh a Zurich hotel waer named Franz Wtermeier, Katia fired off teasg remarks while the uple’s dghter Erika worried about appearanc. A seemgly stagy le of Erika’s “The Magician”—“You nnot flirt wh a waer the lobby of a hotel wh the whole world watchg”—is based directly on the diari.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">“The Magician,” ft and diligent as is, ultimately dimish the imperial strangens of Mann’s nature. He across as a faiar, somewhat piable creature—a closeted man who ocsnally giv to his sir. The real Mann never gave to his sir, but he also never really hid them. Gay them surfaced his wrg almost om the start, and he ma clear that his stori were tobgraphil. When, 1931, he received a newspaper qutnnaire askg about his “first love,” he replied, sence, “Read ‘Ton Kröger.’ ” Likewise, of “Death Venice” he wrote, “Nothg is vented.” Gay men saw the thor as one of their own. When the poser Ned Rorem was young, he took a ont-row seat at a Mann lecture, hopg to distract the emence on the dais wh his hotns. “He never looked,” Rorem reported.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">If Tóibín giv a somewhat domtited versn of Mann, the new edn of “Reflectns of a Nonpolil Man” trivializ him, rcg the Great Ambiguator to the level of an op-ed lumnist. The historian Mark Lilla, who wrote an troductn for the volume, thks that Mann has somethg to tell about iologil nformism the arts today. It’s an obte readg of a work that Mann me to see as an artifact of his own polil stupidy. In Tmpian Ameri, the chief lson to be drawn om the lerary quagmire of “Reflectns” is how ted people n acmodate themselv to irratnaly and vlence.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="TITLE Healthy Snacks" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 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9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">First published 1918, the book is drenched the patrtic fervor that overtook Mann’s tellect durg the First World War. It seeth wh ntempt for Wtern mocracy and wh rentment of his brother Herich, who is never named but who appears the guise of the <em>Zivilisatnslerat</em> (“civilizatn’s ltératr”). Herich cried the war the name of smopolan ials, and his ntemporaneo novel “Der Untertan” he tracked the generatn of German natnalism to chvism, arism, and anti-Semism. Artists should blaze a more enlightened path, Herich argued. Thomas rpond “Reflectns” that war is healthy and enlightenment spect. Art, he says, “has a fundamentally unpendable, treachero tenncy; s light sndalo anti-reason, s clatn toward bety-creatg ‘barbarism,’ is eradible.”</p><p class="paywall">Mann began backpedallg almost immediately, rmg iends that the book would be better read as a novel. By 1922, he had renciled wh Herich and endorsed the Weimar Republic. As the years went by, he beme creasgly embarrassed by “Reflectns,” worryg that had ntributed to Germany’s sli to Nazism. Although he stopped short of disavowg the work, he mented 1944 that had “que properly” never been translated to English, addg, “I should never have published even German, for a more timate and more misable diary has never been kept.” Its only efulns now, he went on, was to show the roots of “The Magic Mounta,” which the Manns’ brotherly fd is revised wh a more progrsive slant. Not until 1983 did an English translatn e out; that versn, by Walter D. Morris, is what New York Review Books has reissued.</p><p class="paywall">The first problem wh the publitn is that occupi a vacuum. In a suatn that would have furiated Mann, almost all his other nonfictn wrgs eher are out of prt English or have never been translated. We need an updated “Thomas Mann Rear,” one that plac excerpts om “Reflectns” alongsi “An Appeal to Reason,” “The Comg Victory of Democracy,” “The Camps” (one of the first ser engagements wh the Holot, om 1945), “Germany and the Germans,” and “On the Ocsn of a Magaze”—the last an unpublished 1949 say that Mann nceived as a “J’Acce!” agast McCarthyism. The “Reflectns” volume do append “On the German Republic,” Mann’s pivotal 1922 endorsement of mocracy, but fails to unterbalance the precedg harangue.</p><p class="paywall">Wh proper ntextualizatn, “Reflectns” mak for a grimly fascatg read. Mann disclos as much of himself s pag as any of his tobgraphil fictn. As Anthony Heilbut poted out his 1996 study, “Thomas Mann: Eros and Lerature,” the ual erotic fixatns are play. Mann imag that Germany’s strappg hero are drawg stenance om his work—“Death Venice” is supposed to have been pecially popular the trench—and that “voluptuo emotns” of raship are nng rampant, to the pot where, we are told, returng soldiers may no longer be attracted to their wiv. An pecially stupefyg passage rponds to humanarian lamentatns over the horrors of war by brgg up the difficult birth of one of the Mann children: “That was not humane, was <em>hellish</em>, and as long as this is around, there n also be war, as far as I’m ncerned.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="t3m6fi"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">“Reflectns” is an extraordarily nvoluted assemblage of allns, imatns, oblique sults, unattributed quotatns, plagiarism, and self-nnibalism. In the relevant volume of S. Fischer Verlag’s annotated edn--progrs of Mann’s œuvre, the scholar Hermann Kurzke suppli almost eight hundred pag of mentary, acuntg for some four thoand catns. The New York Review Books edn has no x, and ntas five pag of not, nsistg mostly of German texts of poems. Rears will be left the dark as to the inty of a certa “fely naïve and monially tortured” wrer (Frank Wekd); the name of the novel that mocks Wagner’s “Lohengr” (“Der Untertan”); and the source of the phrase “affirmatn of a human beg apart om his <em>worth</em>” (the homoerotic soclogist Hans Blüher).</p><p class="paywall">The troductory say is an embarrassment. Whatever the mers of Lilla’s other work—his books clu “The Reckls Md: Intellectuals Polics” and “The Stillborn God: Relign, Polics, and the Morn Wt”—his crentials as a Mann specialist are slim. He stat that Mann wrote no novel between “Budnbrooks” and “The Magic Mounta,” th vaporizg the three-hundred-and-fifty-page “Royal Highns.” He clar that Mann was away om Germany on a lecture tour when Hler assumed power, which is not the se. He says that the young Herich Mann produced “bg left-wg satir”; Herich began on the right. He wr that “<em>Zivilizatnslerat”</em> is “an unlovely term even German.” Ined is, bee ’s misspelled.</p><p class="paywall">The tennt amg of “Reflectns” is no ls aggravatg. Although Lilla acknowledg the book’s dangero iologil drift, he sympathiz wh s crique of the supposed Jabism of s time bee he is remd of the supposed Jabism of ours. In “The Once and Future Liberal: After Inty Polics,” om 2017, Lilla argued that morn liberalism has been waylaid by sldgly self-righteo protters, om queer activists to Black Liv Matter supporters, who value their own agenda above the mon good. This is prumably what Lilla has md when he says that the followg sentenc Mann’s treatise “uld have been wrten today”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The outlawg and expulsn of those who disagree is pletely nsonant wh his ncept of eedom. . . . He imag himself jtified, y, morally bound, to relegate to the ept p every way of thkg that nnot and do not want to regnize what glters so absolutely for him to be the light and the tth.</p></div></blockquote><p class="paywall">Hermann Kurzke advis that the image of a glterg tth is probably an alln to the fal scene of Wagner’s “Das Rhegold,” which Loge lghs at the gods and their graspg after gold. In tth, such l uld not have been wrten today. If you substute “expulsn” wh “ncellatn,” however, you n see the pot that Lilla is evintly tryg to make.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">The pot don’t register wh me, sce gay activism of the <em class="small">ACT UP</em> era helped save me om oblivn, but let’s set inty polics asi and asss what the analogy tells about Mann. If you read “Reflectns” whout ntext, you might nclu that the German Jabs whom Mann is nouncg were figur of ighteng power who uld ncel their opponents wh a sgle filleton. In fact, they occupied a tenuo posn a arized state that was evolvg toward dictatorship. “Der Untertan” uld not be published durg the war, bee of s surg anti-Wilhelme spir. A few pag earlier, Mann mentns Wilhelm Liebknecht as a radil lear. He means Liebknecht’s son Karl, who helped found the German Communist Party—and was murred by Freikorps soldiers 1919. If Lilla’s historil analogy holds, we are on the brk of a Fascist takeover, and woke protters are sted to be the valiant last le of fense. Let’s hope that this is not the se.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="A dog seated at a piano surround by other dogs." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“I only know ‘S’ and ‘Stay.’ ”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Mike Twohy</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg 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10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">The assassatns of the early postwar perd and the rise of Nazism Munich helped nvce Mann that he had ma a terrible wrong turn. Even while wrg “Reflectns,” though, he had felt tremors of unease, torn between German war fever and a smopolan, pan-European sensibily. There is a tortuo pleasure watchg the book totter unr the weight of s ntradictns. Hundreds of pag , Mann adms that his ma this—that leftists have jected polics to an nocent artistic sphere—is herent, bee “antipolics is also polics.” He suggts, after many pag of bil anti-mocratic rants, that mocracy is evable Germany. In his saner moments, he simply pleads for somethg other than the hypocril Anglo-Amerin system that preach eedom while subjugatg other peopl. (Fair enough.) “Reflectns” trac the groggy awakeng of a wrer who has never thought systematilly about polics. It is the begng of a journey that ends wh his embrace of mocratic socialism. As Kurzke pots out, Mann succumbs to the disease of natnalist rentment jt before be enmic Germany. He effectively “immuniz” himself agast Hlerism.</p><p class="paywall">To the end of his life, Mann kept sistg that any attempt to separate the artistic om the polil was a tastrophic ln. His most succct formulatn me a letter to Hermann Hse, 1945: “I believe that nothg livg n avoid the polil today. The refal is also polics; one thereby advanc the polics of the evil e.” If artists lose themselv fantasi of pennce, they bee the tool of malefactors, who prefer to keep art apart om polics so that the work of opprsn n ntue undisturbed. So Mann wrote an afterword to a 1937 book about the Spanish Civil War, addg that the poet who forswears polics is a “spirually lost man.” The same nvictn is scribed to the later fictn. The primary theme of “Doctor Fst” is the sany of the old Romantic ethos.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="dd14koj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="fysebm"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">To claim, as Lilla do, that Mann held fast to some eternal prciple of artistic eedom revers the arc of his reer and unlearns his harst-won lsons. In fact, Mann me to believe that a jt social orr required lims polics and art alike. Stanley Corngold unrsr this pot “The Md Exile: Thomas Mann Prceton,” which chronicl the time that the novelist spent at the universy between 1938 and 1941. In speech of the perd, Mann lled for “social self-disciple unr the ial of eedom”—a polil philosophy that doubl as a personal one. He also said, “Let me tell you the whole tth: if ever Fascism should e to Ameri, will e the name of ‘eedom.’ ” He left the Uned Stat 1952, fearg that McCarthyism had ma him a marked man once aga.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The baroque tangle of Mann’s sexualy and his polics n easily nsume discsns of his work, as has this one so far. Nohels, there is no way to make sense of his velopment whout takg the tangle to acunt. Consir the progrsn om “Budnbrooks,” 1901, to “The Magic Mounta,” 1924. The fay saga of “Budnbrooks” was a huge triumph for a wrer his twenti. Then me a spell of uncertaty, wh many false starts amid fished projects. “Frenza,” a verbose stage drama about Savonarola and the Medici, received bg reviews; “Royal Highns,” an arch maral edy, me across as disappotgly slight. Herich Mann, meanwhile, had a strg of succs. The aternal break was ed part by a gibe that Herich ma a 1915 say on Zola: “It is the se wh those sted to dry up early that they step forth nscly and rpectably at the start of their twenti.”</p><p class="paywall">In the years before the First World War, Mann labored to e up wh a send masterpiece. He ntemplated a novel about Frerick the Great and other weighty schem. When none of them panned out, he bied himself wh seemgly trivial subjects: a story about a charmg nfince man; a tale volvg tuberculosis patients at a Swiss clic; a novella based on a beach vatn Venice. The last, published 1912, proved to be the breakthrough to Mann’s mature manner. But took the form of a fabuloly trite self-satire, which the Frerick the Great novel and other unrealized plans were attributed to an olr, sadr versn of himself. It was a bonfire of his vani, a kd of artistic suici. Mann stggled wh suicidal impuls his early years, and he found thartic satisfactn killg off his alter egos.</p><p class="paywall">“Reflectns,” the urse of s meanrgs, addrs perceived misunrstandgs of “Death Venice.” Rears saw the novella as an exercise attag a “master style”; for Mann, is a parody of his own qut for mastery. “Death Venice” is secretly a edy, a very dark register. The narrator’s grandiloquence overshoots the mark and be ludicro: “What he craved, though, was to work Tadz’s prence, to take the boy’s physique as the mol for his wrg, to let his style follow the ntours of this body which seemed to him dive, to rry s bety to the realm of the tellect, as the eagle once rried the Trojan shepherd to the ether.” The real pot of llapse when we are assured that the outer world will enjoy Aschenbach’s miraculo prose whout knowg s tawdry origs. The boundary between art and life is oblerated as soon as is drawn.</p><p class="paywall">The polil crisis of the First World War brgs wh a parallel athetic crisis, which leads to another breakthrough. In the early chapters of “Reflectns,” Mann gtur toward mountg an orrly argument, but after a while the pretense falls away and the book volv to a diaristic llage, wh experienc plopped to the narrative one after the other: iends’ publitns arrivg the mail, performanc of Hans Pfzner’s opera “Paltra,” news of ary advanc and reversals. In his next major work, “The Magic Mounta,” he proceeds much the same way, but wh far greater ntrol. Happenstance events his daily life—viss to séanc, an enunter wh an X-ray mache, the arrival of a phonograph—are seamlsly fold to his sanatorium epic. The turgid thrashgs of “Reflectns” have yield a distctive novelistic technique that Mann employs for the remar of his reer.</p><p class="paywall">Mann’s new style is mornism a high-bourgeois mo, as byzante s layerg as anythg Joyce. The seventh chapter of “Lotte Weimar,” which Goethe livers an terr monologue, creat an astonishgly nse mosaic of Goethean utteranc termgled wh Mann’s own thoughts; at the same time, is a radil mythologizg of a cultural migod. (You might not notice om readg Helen Lowe-Porter’s stilted translatn, but Goethe wak up wh a hard-on.) “Doctor Fst” rtag the life of Nietzsche, borrows agments om Mann’s old diari, and absorbs chunks of the mil philosophy of Arnold Schoenberg and Theodor W. Adorno. Seren Zeblom, another parodilly long-wd narrator, reacts to news of Hler’s downfall jt as Mann did his study Los Angel; the self-mirrorg lends an unnny realy to the novel, as if a send thor were watchg om the wgs. Mann observed himself as unsentimentally as he observed everyone else.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">Was there an element of charlatanism the magpie methodology—particularly when Aled A. Knopf, Jr., was marketg his star émigré novelist as the “Greatt Livg Man of Letters”? Mann accepted the possibily, sce he had always been hnted by the sense of beg an empty shell, a woon soldier. All along, the dubns of geni had been one of his chief motifs. In “The Brother,” his say on Hler, he wrote that greatns was an athetic rather than an ethil phenomenon, meang that Nazi exploatn of Goethe and Beethoven was ls a betrayal of German artist-worship than a grotque extensn of . The Magician’s ft trick was to dismantle the pretensns of geni while prervg his own lofty stature. The feat uld be acplished only once, and happens fively “Doctor Fst,” when Leverkühn’s explitn of his valedictory ntata spirals to madns. An immaculately turned-out personifitn of bourgeois culture stag s stctn.</p><p class="paywall">What is left amid the s is smic irony—Mann’s preferred mo om the start. At his ath, he had fished the first part of “Confsns of Felix Kll, Confince Man,” a novel-length elaboratn of his earlier story. In one chapter, the wsome protagonist is workg as a waer a Paris hotel when he meets a Sttish gentleman named Lord Kilmarnock—a slenr man of stiff bearg, his ey gray-green, his hair iron-gray, his mtache clipped, his nose juttg awkwardly om his face, his manner iendly yet melancholy. Not for the first time, but never so obvly, Mann tak a seat at the table of his fictn. In a seri of fleetg chats, Kilmarnock mak his tert Felix clear, whout mtg any improprieti. He expounds his philosophy of life, which is <em>Selbstverneung</em>, the negatn of the self: “Perhaps, <em>mon enfant</em>, self-negatn creas the pacy for the affirmatn of the other.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="zfl"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div 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ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/alex-ross"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/alex-ross">Alex Ross</a> has been the magaze’s mic cric sce 1996. His latt book is “<a href=">Wagnerism: Art and Polics the Shadow of Mic</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/thomas-mann" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Thomas Mann</span></a><a href="/tag/lerature" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Lerature</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a><a href="/tag/novels" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Novels</span></a><a href="/tag/wrers" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Wrers</span></a><a href="/tag/novelists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Novelists</span></a><a href="/tag/maniftos" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Maniftos</span></a><a href="/tag/lm-toib" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Colm Toib</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Weekly</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Your gui to the latt magaze and our biggt stori of the week, pl highlights om podsts, humor, and more.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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Why did reluctant acceptance turn to vlence?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="An Ambassador Whout a Country" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">An Ambassador Whout a Country</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="An Ambassador Whout a Country" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The Afghan statman Zalmai Rassoul is regnized by the ernments of the Uned Kgdom and Ireland—but not by the Taliban.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Steve Coll</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How the Wrer and Cric Jacquele Rose Puts the World on the Couch" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How the Wrer and Cric Jacquele Rose Puts the World on the Couch</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How the Wrer and Cric Jacquele Rose Puts the World on the Couch" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Enlistg Frd and femism, she reveals the hidn currents poetry and polics alike.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div 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"Rensirg the Emergence of the Gay Novel English and German" by Jam P. Wilper

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THE GREAT GAY-JEWISH POETRY BRAWL OF 1829

CLASSIC GAY MALE LERATURE

BEAR-MAGAZINE.COM GAY GERMAN WRITERS

"Rensirg the Emergence of the Gay Novel English and German" by Jam P. Wilper

Recent Posts

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Contents:

THE GREAT GAY-JEWISH POETRY BRAWL OF 1829

CLASSIC GAY MALE LERATURE

*BEAR-MAGAZINE.COM* GAY GERMAN WRITERS

BEAR-MAGAZINE.COM GAY GERMAN WRITERS