The main character is Gustav von Aschenbach, a famous author in his early fifties who has recently been ennobled and thus acquired the aristocratic "von" to his name. He is a man dedicated to his art, disciplined and ascetic to the point of severity, who was widowed at a young age. As the story opens, while strolling outside a cemetery, he sees a coarse-looking red-haired man who stares back at him belligerently. Aschenbach walks away, embarrassed but curiously stimulated. Soon afterwards, he resolves to take a trip.
He decides on Venice, reserving a suite in the Grand Hôtel des Bains on the Lido island. While en route to the island by vaporetto (motor boat), he sees an elderly man, in company with a group of high-spirited youths, who has tried hard to create the illusion of youth with a wig, false teeth, makeup, and foppish attire. Aschenbach turns away in disgust. Soon afterwards he has a disturbing encounter with an unlicensed gondolier —another red-haired man— who keeps repeating "I can row you well" when Aschenbach orders him to return to the wharf.
Aschenbach checks into his hotel, where at dinner he sees an aristocratic Polish family at a nearby table. Among them is an adolescent boy in a sailor suit; Aschenbach, startled, realizes that the boy is beautiful. His sisters, however, are so severely dressed that they look like nuns. Aschenbach overhears the lad's name, Tadzio, and conceives what he tells himself is an abstract, artistic interest.
Soon the hot, humid weather begins to affect Aschenbach's health, and he decides to leave early and move to a more salubrious location. On the morning of his planned departure, he sees Tadzio again, and a powerful feeling of regret sweeps over him. When he reaches the railway station and discovers his trunk has been misdirected, he pretends to be angry, but is really overjoyed; he decides to remain in Venice and wait for his lost luggage. He happily returns to the hotel, and thinks no more of leaving.
Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession. He watches him constantly, and secretly follows him around Venice. One evening, the boy directs a charming smile at him, looking, Aschenbach thinks, like Narcissus smiling at his own reflection. Disconcerted, he rushes outside, and in the empty garden whispers aloud, "I love you!"
Aschenbach next takes a trip into the city of Venice, where he sees a few discreetly worded notices from the Health Department warning of an unspecified contagion and advising people to avoid eating shellfish. He smells an unfamiliar strong odour everywhere, and later realises it is disinfectant. However, the tourists continue to wander round the city, apparently oblivious. Aschenbach at first ignores the danger because it somehow pleases him to think that the city's disease is akin to his own hidden, corrupting passion for the boy. During this period, a third red-haired, disreputable-looking man crosses Aschenbach's path; this one belongs to a troupe of street singers who entertain at the hotel one night. Aschenbach listens entranced to songs that, in his former life, he would have despised – all the while stealing glances at Tadzio, who is leaning on a nearby parapet in a classically beautiful pose.
Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city so he can warn Tadzio's mother. After being repeatedly assured that the sirocco is the only health risk, he finds a British travel agent who reluctantly admits that there is a serious cholera epidemic in Venice. Aschenbach, however, funks his resolution to warn the Polish family, knowing that if he does, Tadzio will leave the hotel and be lost to him.
One night, a dream filled with orgiastic Dionysian imagery reveals to him the sexual nature of his feelings for Tadzio. Afterwards, he begins staring at the boy so openly and following him so persistently that Aschenbach feels the boy's guardians finally notice, and take to warning Tadzio whenever he approaches too near the strange, solitary man. But Aschenbach's feelings, though passionately intense, remain unvoiced; he never touches Tadzio, or even speaks to him; and while there is some indication that Tadzio is aware of his admiration, the two exchange nothing more than the occasional surreptitious glance.
Aschenbach begins to fret about his aging face and body. In an attempt to look more attractive, he visits the hotel's barber shop almost daily, where the barber eventually persuades him to have his hair dyed and his face painted to look more youthful. The result is a fairly close approximation to the old man on the vaporetto who had so appalled Aschenbach. Freshly dyed and rouged, he again shadows Tadzio through Venice in the oppressive heat. He loses sight of the boy in the heart of the city; then, exhausted and thirsty, he buys and eats some over-ripe strawberries and rests in an abandoned square, contemplating the Platonic ideal of beauty amidst the ruins of his own once-formidable dignity.
A few days later, Aschenbach goes to the lobby in his hotel, feeling ill and weak, and discovers that the Polish family plan to leave after lunch. He goes down to the beach to his usual deck chair. Tadzio is there, unsupervised for once, and accompanied by an older boy, Jasiu. A fight breaks out between the two boys, and Tadzio is quickly bested; afterward, he angrily leaves his companion and wades over to Aschenbach's part of the beach, where he stands for a moment looking out to sea; then turns halfway around to look at his admirer. To Aschenbach, it is as if the boy is beckoning to him: he tries to rise and follow, only to collapse back into his chair.
His body is discovered a few minutes later. When news of his death becomes public, the world decorously mourns the passing of a great artist.
The novella is constructed on a framework of references to Greek mythology, and Aschenbach's Venice seems populated by the gods. By dedicating himself to Apollo, the god of reason and the intellect, Aschenbach has denied the power of Dionysus, god of unreason and of passion – a voluntary act of what Freud would call "suppression". Dionysus seems to have followed Aschenbach to Venice with the intent of destroying him: the red-haired man who keeps crossing von Aschenbach's path, in the guise of different characters, could be none other than Silenus, Dionysus's mythological chief disciple. (Silenus' role is disputed, however, since he bears no physical resemblance to the secondary characters in the book.) In the Benjamin Britten opera these characters (The Traveller, the Gondolier, The Leading player and the Voice of Dionysus) are played by the same baritone singer, who also plays the Hotel Manager, The Barber, and the Old Man on the Vaporetto. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing Death in Venice: in England, at almost the same time, E. M. Forster was at work on an entire short-story collection based on this premise. The idea of the opposition of the Apollonian and Dionysian seems to have been introduced by Nietzsche and was also a popular motif of the time.
Gustav von Aschenbach's name seems to be inspired by the homosexual German poet August von Platen-Hallermünde. The character's last name may be derived from von Platen's birthplace, Ansbach. However, it still has another clear significance: Aschenbach literally means "ash brook". The character of von Aschenbach was based partly on the composer Gustav Mahler(the soundtrack of the film based on the novella thus made use of Mahler's compositions, particularly the "Adagietto" movement from the Symphony No. 5). Mahler had made a strong personal impression on Mann when they met in Munich, and he was shocked by the news of his death while on Brijuni. Mann also based Aschenbach's first name and facial appearance on Mahler but didn't talk about it in public.
Wednesday, October 28, 2009
Sunday, October 25, 2009
Bitter Moon - Roman Polanski
Bitter Moon is a 1992 film starring Hugh Grant (Nigel), Kristin Scott Thomas (Fiona), Emmanuelle Seigner (Mimi) and Peter Coyote (Oscar) and directed by Roman Polanski. The film is known as Lunes de fiel in France. The script is inspired by a book with the same name, written by the French author Pascal Bruckner. The score was composed by Vangelis.
"Polanski directs it without compromise or apology, and it's a funny thing how critics may condescend to it, but while they're watching it you could hear a pin drop." Chicago Sun Times
"Polanski directs it without compromise or apology, and it's a funny thing how critics may condescend to it, but while they're watching it you could hear a pin drop." Chicago Sun Times
Kolya - Jan Svěrák
Kolya (originally Kolja) is a 1996 Czech film drama about a man whose life is reshaped in an unexpected way. The film was directed by Jan Svěrák and stars his father Zdeněk Svěrák who also wrote the script from a story by Pavel Taussig.
The film begins in 1988 while the Soviet bloc is beginning to disintegrate. František Louka, a middle-aged Czech man dedicated to bachelorhood and the pursuit of women, is a concert cellist struggling to eke out a living by playing funerals at the Prague crematorium. He has lost his previous job at the philharmonic orchestra due to having been half-accidentally blacklisted as "politically unreliable" by the authorities. A friend offers him a chance to earn a great deal of money through a sham marriage to a Russian woman to enable her to stay in Czechoslovakia. However, the woman uses her Czechoslovak citizenship to emigrate and join her boyfriend in West Germany.
Due to a concurrence of circumstances she has to leave behind her Russian-speaking five-year-old son, Kolya, for the disgruntled Czech musician to look after. At first Louka and Kolya have communication difficulties, as they don't speak each other's languages and the many false friend words that exist in Czech and Russian add to the confusion. Gradually, though, a bond forms between Louka and Kolya. The child suffers from suspected Meningitis and has to be placed on a course of carefully monitored Antibiotics. Louka is threatened with imprisonment for his suspect marriage and the child may be placed in a Russian children's home. The Velvet Revolution intervenes though, and Kolya is reunited with his mother. Louka and Kolya say their goodbyes.
The film begins in 1988 while the Soviet bloc is beginning to disintegrate. František Louka, a middle-aged Czech man dedicated to bachelorhood and the pursuit of women, is a concert cellist struggling to eke out a living by playing funerals at the Prague crematorium. He has lost his previous job at the philharmonic orchestra due to having been half-accidentally blacklisted as "politically unreliable" by the authorities. A friend offers him a chance to earn a great deal of money through a sham marriage to a Russian woman to enable her to stay in Czechoslovakia. However, the woman uses her Czechoslovak citizenship to emigrate and join her boyfriend in West Germany.
Due to a concurrence of circumstances she has to leave behind her Russian-speaking five-year-old son, Kolya, for the disgruntled Czech musician to look after. At first Louka and Kolya have communication difficulties, as they don't speak each other's languages and the many false friend words that exist in Czech and Russian add to the confusion. Gradually, though, a bond forms between Louka and Kolya. The child suffers from suspected Meningitis and has to be placed on a course of carefully monitored Antibiotics. Louka is threatened with imprisonment for his suspect marriage and the child may be placed in a Russian children's home. The Velvet Revolution intervenes though, and Kolya is reunited with his mother. Louka and Kolya say their goodbyes.
Pelisky - Jan Hrebejk
Pelíšky (English: Cosy Dens) is a 1999 Czech film directed by Jan Hřebejk. It is loosely based on the novel Hovno Hoří (Czech: "Flaming Feces") by Petr Šabach.
Pelíšky is a bittersweet coming-of-age story set in the months leading up to the ill-fated 1968 Prague Spring. Teenager Michal Šebek (Michael Beran) develops a crush on his neighbor, Jindřiška Krausová (Kristýna Nováková). Michal's family is headed by a stubborn army officer who believes that the latest East German Tupperware will sufficiently shame those American imperialists, while Jindřiška's father is an ardent foe of the Communists saved from prison only because he is a war hero. Much to the parents' dismay, the younger generation couldn't care less for politics. Instead, Michal sports a Beatles mop-top and runs a local film group specialising in Hollywood and pre-war French films, while Jindřiška starts hanging out with a mysterious hipster.
Pelíšky is a bittersweet coming-of-age story set in the months leading up to the ill-fated 1968 Prague Spring. Teenager Michal Šebek (Michael Beran) develops a crush on his neighbor, Jindřiška Krausová (Kristýna Nováková). Michal's family is headed by a stubborn army officer who believes that the latest East German Tupperware will sufficiently shame those American imperialists, while Jindřiška's father is an ardent foe of the Communists saved from prison only because he is a war hero. Much to the parents' dismay, the younger generation couldn't care less for politics. Instead, Michal sports a Beatles mop-top and runs a local film group specialising in Hollywood and pre-war French films, while Jindřiška starts hanging out with a mysterious hipster.
We Need to Talk About Kevin - Lionel Shriver
We Need to Talk About Kevin is a 2003 novel by Lionel Shriver, concerning a fictional school massacre. It is written from the perspective of the killer's mother, Eva Khatchadourian, and documents her attempt to come to terms with her son Kevin and the murders he committed. Although told in the first person as a series of letters from Eva to her husband, the novel's structure also strongly resembles that of a thriller. The novel, Shriver's seventh, won the 2005 Orange Prize, a UK-based prize for female authors of any nationality writing in English. It is published outside of the US by Serpent's Tail.
Kevin
Kevin's behavior throughout the book closely resembles that of a psychopath, although reference to this condition is sparse and left mostly up to the reader's imagination. He displays little to no affection or moral responsibility towards his family or community, and commonly distances himself from people to avoid attachment. Kevin seems to regard virtually everyone with contempt and hatred. Eva, his mother, makes frequent attempts to enter Kevin's mind and identify some reason for his detachment and his actions, which to non-psychopaths seem incomprehensible. He engages in many acts of petty sabotage from an early age, from seemingly-innocent actions like spraying ink with a squirt gun on a room painstakingly wallpapered by his mother in rare maps to encouraging a girl to gouge her eczema-affected skin. Rationalization for his behavior is one of the central themes of the story -- when asked the simple question 'Why?' after the massacre, he responds that he is giving the public the excitement and scandal that they secretly crave. Only in rare instances does another side of Kevin emerge: in childhood when he becomes very ill, and later, just before he is transferred to an adult prison and is evidently nervous. In these instances, he displays the simple need for love and comfort that all children seek. It is left ambiguous as to whether this is Kevin's real personality hidden under layers of psychopathy, or vice versa.
Kevin
Kevin's behavior throughout the book closely resembles that of a psychopath, although reference to this condition is sparse and left mostly up to the reader's imagination. He displays little to no affection or moral responsibility towards his family or community, and commonly distances himself from people to avoid attachment. Kevin seems to regard virtually everyone with contempt and hatred. Eva, his mother, makes frequent attempts to enter Kevin's mind and identify some reason for his detachment and his actions, which to non-psychopaths seem incomprehensible. He engages in many acts of petty sabotage from an early age, from seemingly-innocent actions like spraying ink with a squirt gun on a room painstakingly wallpapered by his mother in rare maps to encouraging a girl to gouge her eczema-affected skin. Rationalization for his behavior is one of the central themes of the story -- when asked the simple question 'Why?' after the massacre, he responds that he is giving the public the excitement and scandal that they secretly crave. Only in rare instances does another side of Kevin emerge: in childhood when he becomes very ill, and later, just before he is transferred to an adult prison and is evidently nervous. In these instances, he displays the simple need for love and comfort that all children seek. It is left ambiguous as to whether this is Kevin's real personality hidden under layers of psychopathy, or vice versa.
City of God - Paolo Lins
City of God (Portuguese: Cidade de Deus) is a 1997 semi-autobiographical novel by Paulo Lins, about three young men and their lives in Cidade de Deus, a favela in Western Rio de Janeiro where Lins grew up.
A Long Way Gone: Memoirs of a Boy Soldier
A gripping story of a child’s journey through hell and back.
There may be as many as 300,000 child soldiers, hopped-up on drugs and wielding AK-47s, in more than fifty conflicts around the world. Ishmael Beah used to be one of them. He is one of the first to tell his story in his own words.
In A LONG WAY GONE, Beah, now twenty-six years old, tells a riveting story. At the age of twelve, he fled attacking rebels and wandered a land rendered unrecognizable by violence. By thirteen, he’d been picked up by the government army, and Beah, at heart a gentle boy, found that he was capable of truly terrible acts. Eventually released by the army and sent to a UNICEF rehabilitation center, he struggled to regain his humanity and to reenter the world of civilians, who viewed him with fear and suspicion. This is, at last, a story of redemption and hope.
Ishmael Beah was born in Sierra Leone in 1980. He moved to the United States in 1998 and finished his last two years of high school at the United Nations International School in New York. In 2004 he graduated from Oberlin College with a B.A. in political science. He is a member of the Human Rights Watch Children’s Rights Division Advisory Committee and has spoken before the United Nations, the Council on Foreign Relations, the Center for Emerging Threats and Opportunities (CETO) at the Marine Corps Warfighting Laboratory, and many other NGO panels on children affected by the war. His work has appeared in VespertinePress and LIT magazine. He lives in New York City.
There may be as many as 300,000 child soldiers, hopped-up on drugs and wielding AK-47s, in more than fifty conflicts around the world. Ishmael Beah used to be one of them. He is one of the first to tell his story in his own words.
In A LONG WAY GONE, Beah, now twenty-six years old, tells a riveting story. At the age of twelve, he fled attacking rebels and wandered a land rendered unrecognizable by violence. By thirteen, he’d been picked up by the government army, and Beah, at heart a gentle boy, found that he was capable of truly terrible acts. Eventually released by the army and sent to a UNICEF rehabilitation center, he struggled to regain his humanity and to reenter the world of civilians, who viewed him with fear and suspicion. This is, at last, a story of redemption and hope.
Ishmael Beah was born in Sierra Leone in 1980. He moved to the United States in 1998 and finished his last two years of high school at the United Nations International School in New York. In 2004 he graduated from Oberlin College with a B.A. in political science. He is a member of the Human Rights Watch Children’s Rights Division Advisory Committee and has spoken before the United Nations, the Council on Foreign Relations, the Center for Emerging Threats and Opportunities (CETO) at the Marine Corps Warfighting Laboratory, and many other NGO panels on children affected by the war. His work has appeared in VespertinePress and LIT magazine. He lives in New York City.
Subscribe to:
Posts (Atom)
