Literatura

Muerte en Venecia

Thomas Mann 

Death in Venice is a book whose author is Thomas Mann. Is a classic of the twentieth century. German writer, Nobel Prize in 1929. Raised in Lübeck within a patrician family, the death of his father in 1893 he followed his mother to Munich, where he worked as an apprentice in an insurance company. Later, drawing in part on the relationship of his brother Heinrich, he collaborated with several magazines, including Simplizissimus. From 1895 to 1897 he was in Italy, accompanying his brother.
In his youth, his position was reflected in the considerations of an apolitical, largely raised against Zola, who had published just Heinrich. In 1933, drawing on a lecture tour, and following the advice of his children did not return to Germany, but was exiled first to Sanary-sur-Mer, near Marseille, and then in Küsnacht, near Zurich. At that time it was not defined politically, he stayed away from the circle of exiles and even promised the German Ministry of Propaganda, in 1933, refrain from political demonstrations, not wanting to jeopardize its relationship with its German readers or editing Jose and your brothers. It's no secret that Thomas Mann repressed homosexual urges to avoid any conflict or affective disorder. Attached to bourgeois life with his routine without risks, merely fantasizing male beauty and forbidden pleasures. His friendship with Armin Martens and Williram Timple. It was not easy camaraderie, but an unconsummated love affair that left a deep imprint on his memory.

La muerte en Venecia

Death in Venice starts in the spring an unspecified "19 ...". Although the exact date is omitted, black omens that threaten the continent are not hidden. Gustav Aschenbach ("Von Aschenbach", as emphasized in the first paragraph, indicating their status as new aristocrat) begins a long walk in Munich, shortly after his usual nap. Methodical and disciplined, he dedicated the morning to literary work. Not a damn author, but a successful author. His works are read in schools and a prince has been honored with a title. However, Aschenbach is dissatisfied. In his books there is no sincerity and joy. His literature is not an apotheosis of life, but a simulation that avoids the abyss. Far from the romantic fatalism, its sole purpose is the serenity and formal perfection. There is no room for emotions that disturb the spirit. That fear of the dark and ambiguous outlaw even compassion, pity because the other involves a dangerous tolerance. Forgiveness should not be confused with sentimentality and can not systematically applied to those who deviate from the social order.

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