The Daily

Posts Tagged ‘Germany’

Who Wrote Lolita First? An Interview with Michael Maar

April 19, 2016 | by

Nabokov in 1969. Photo: Giuseppe Pino

In this conversation—first published last month in the German magazine Cicero—Daniel Kehlmann and the Nabokov scholar Michael Maar discuss one of Maar’s most unlikely discoveries about Lolita.

In your book The Two Lolitas, you made an intriguing discovery—it started to obsess me a bit. What’s equally interesting, and kind of outrageous, is that most Nabokov scholars ignored your finding. Maybe they felt they ought to shield Nabokov from charges of plagiarism. So let’s get this out of the way first—is this about plagiarism?

Of course not. The word came up in the press when I published my first article about the discovery, but that’s not what this is about at all. Read More »

The Little Man of Nuremberg

March 17, 2016 | by

Wonder in the age of Matthias Buchinger.

A late sixteenth-century portrait of a disabled man, included in a Wunderkammer at Ambras Castle.

Though he had neither arms nor legs and was only twenty-nine inches tall, Matthias Buchinger spent his sixty-five years variously as a magician, a musician, a carver, and an inventor, among other vocations. But his most astounding talents were in micrography—that is, literally, small writing. Since his death in 1740, his renown has been relegated to an obscure niche between print design and outsider art. “Wordplay: Matthias Buchinger’s Inventive Drawings from the Collection of Ricky Jay,” showing now at the Metropolitan Museum of Art, rescues him from a seventeenth-century German wunderkammer of conjurers, carneys, witches and “freaks” endemic to early modernity. Accompanying the exhibition is the equally eccentric art-history and antiquarian memoir Matthias Buchinger: The Greatest Living German by Ricky Jay, Whose Peregrinations in Search of the “Little Man of Nuremberg” are herein Revealed, in which Jay, something of a sleight-of-hand artist, reconstructs Buchinger’s exotic life and oeuvre. Read More »

Kriemhild’s Revenge

February 12, 2016 | by

Fritz Lang and Thea von Harbou’s strangest collaboration.

Fritz Lang and Thea von Harbou

Fritz Lang and Thea von Harbou weren’t collaborators so much as co-conspirators: they  had one of the strangest, most fruitful partnerships in the history of film, an erotic and artistic alliance that helped the new medium establish an emotional and political grammar. In the course of their eleven-year marriage, the pair, who met in 1920, made roughly a dozen films, often with Von Harbou writing the screenplays—adapted largely from her own work—and Lang in the director’s chair. They shared an expressive aesthetic vision, an exacting work ethic, and an almost tyrannical unwillingness to compromise with others. They changed people’s minds about their movies and, in radical ways, they changed each other. Their dedication manifested in odd ways—even though, a year into their affair, the bloom had already gone off the rose, they continued to live together, work together, and keep up the pretense of monogamy for another decade. She looked past his philandering; he looked past her increasingly fascist politics; they kept a full calendar. “We were married for eleven years,” von Harbou said later, “because for ten years we didn’t have time to divorce.”

When they did separate, in 1933, the break was clean: not even a year later, Lang, having only recently claimed German citizenship, had fled the country. He said he’d met with Joseph Goebbels, who asked him to head the Nazified film unit of UFA—an experience that so spooked him he left that very evening. If his story is factually dubious, it makes emotional sense: Lang saw himself as having chosen art over nationalism. Von Harbou, who stayed behind, thought she had chosen art, too. And this is in many ways the problem at the heart of their romance: Who, if anyone, had betrayed whom? When love is so tied up in art, and art so tied up in politics, what does betrayal end up looking like? Read More »

Distant Hammers

February 4, 2016 | by

Notes on art and apocalypse.

From Patrick Reed’s “Distant Hammers.”

How will the end come? Did it already come? Did we miss it? That we can ask this last question shows just how far our current mood of millenarianism has traveled from its antecedents in the distant and not-so-distant past. As late as Eliot, poets and prognosticators assured us that we would recognize “how the world ends.” Most visions of apocalypse were spectacular, sublime. The possibility that we have instead whimpered our way into some kind of boiling-frog scenario—marked by slow but irreversible global warming, mass human displacement, and a gradually perceptible slide toward famine, disease, war, and extinction—is a radical departure from the convulsive display we’d long been promised.

The first properly apocalyptic writings in the monotheistic tradition are the books of Joel and Zechariah, two of the twelve minor prophets in the Tanakh, or Jewish canon. Joel, whose account may date to the reign of King Josiah, around 800 B.C., and who may therefore be the oldest prophet, begins by describing a coming locust infestation, which he claims will be coincident with famine and widespread misery. The lament transforms into a hallucinogenic description of locusts as God’s army (“the increasing locust, the nibbling locust, the finishing locust, and the shearing locust”), of a fire that consumes the world, and of a day of thick darkness “like the dawn spread over the mountains.” The more famous book of Daniel follows approximately in this mold, albeit with new messianic trappings. Read More »

As Blue as Indigo Bags

January 18, 2016 | by

Edvard Munch, Melancholy, 1893.

Any Joe with a Twitter account will tell you that today is Blue Monday, the most depressing day of the year. It’s a claim that rests mostly on a bunch of pseudoscience and a dubious 2005 ad campaign for a travel agency. Even so, a whole cottage industry has risen up around our apparent mid-January slump—especially in the UK, where people are always kind of miserable anyway. Tesco superstores are giving away free fruit; the BBC’s Scotland bureau has urged citizens to stay cheery by reminding themselves that the ski forecast is good and that the Spice Girls may soon reunite.

Though claims as to our collective depression have long been debunked, I wondered about the origin of the phrase “Blue Monday,” which clearly predates this latest usage. There was that great New Order song from 1983, for starters, and the subtitle to Vonnegut’s Breakfast of Champions (or Goodbye, Blue Monday) and the Gershwin opera well before that. Evidence from eighteenth-century books suggests that Blue Monday was once just an excuse for working people to get drunk, and it happened every Monday, because our ancestors have long known what any casual reader of Garfield does: Mondays are for the birds. Read More »

Black Ink

January 15, 2016 | by

Henry de Montherlant’s novels have fallen out of fashion, but at their best they’re perfect for our confused age.

Henry de Montherlant, c. 1953.

Henry de Montherlant began writing in earnest after he came home wounded from the Great War, a decorated veteran. France in the 1930s made him a literary star, awarding him the Grand Prix—yet he hated the Third Republic. Montherlant, a true misfit, had many such contrarian tendencies: though he was gay, he wrote caustic articles for right-wing magazines and loathed modernity. In print, he professed admiration for the soldiers of the Wehrmacht, writing that France, with its “shopgirl’s morality,” deserved to lose the war. His book Le solstice de juin counseled “acceptance, then adherence” to German occupation and Vichy; after the war, it earned him a yearlong ban from publishing.

Even so, Montherlant was elected to the Académie française in 1960. His plays were staged, his novels published. In 1972, he swallowed cyanide and, to make sure, shot himself in the head. He has made the long slide from fame to infamy, but in his time he was tolerated and even praised, a guilty reminder that there were far more collaborators than Charles de Gaulle’s myth of noble France ever could admit. His literary biographer Lucille Becker writes, Read More »