A well-chosen, confidently translated gathering of stories that casts new light on its author.
A fresh, revealing translation of some of the German writer’s now-canonical stories.
In this vigorous new version, Searls emphasizes aspects of Mann's life and work that have not been well aired outside of the scholarly literature. One is Mann’s mixed-race background, including Indigenous and African ancestry through his Brazilian mother, little known to general readers but certainly known to the Nazis who drove him out of Germany. Among other things, Searls holds, this background lent a personal touch to Mann’s insistence that German culture was connected as much to the Mediterranean as to the North Sea. Mann was also unafraid to explore sexuality—and homosexuality—in his works, which drew the wrath of the censors. Finally, Searls argues that Mann is often funny, a fact obscured by rather musty earlier translations, with his humor “far more than the supercilious ‘irony’ he is generally credited with.” Searls takes pains to bring Mann’s decades-old prose to life without anachronism or false breeziness, and where the language is sometimes not quite idiomatic, as when Felix Krull stands alongside his dead father in “Confessions of a Con Artist, by Felix Krull,” it is to point out the German love of abstraction and distance: “I stood at the husk of my progenitor as it grew colder, holding my hand over my eyes, and paid him the copious tribute of my tears.” Krull’s father isn’t quite the scamp his son is, but Krull’s indeed humorous story has Papa selling rotgut champagne, arguing, “I give the people what they believe in.” One character longs to be “a dancer or a cabaret reciter,” tossing out bourgeois convention, while another, decidedly not “a woman of good morals,” is revealed to be canoodling with a young musician. Then, of course, there’s “Death in Venice,” arguably Mann’s most perfectly realized story, with its intimations of mortality on every page, as when its professorial protagonist steps into a gondola “so singularly black, black as otherwise only coffins are.”
A well-chosen, confidently translated gathering of stories that casts new light on its author.Pub Date: Feb. 28, 2023
ISBN: 978-1-631-49848-0
Page Count: 256
Publisher: Liveright/Norton
Review Posted Online: Dec. 13, 2022
Kirkus Reviews Issue: Jan. 1, 2023
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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