Kong: Skull Island
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A comprehensive biography of Thomas Mann, a German novelist, essayist, and Nobel laureate. Learn about his life, works, family, political views, and exile from Nazi Germany.
- Overview
- Early literary endeavours
- World War I and political crisis
- World War II and exile
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Thomas Mann (born June 6, 1875, Lübeck, Germany—died August 12, 1955, near Zürich, Switzerland) German novelist and essayist whose early novels—Buddenbrooks (1900), Der Tod in Venedig (1912; Death in Venice), and Der Zauberberg (1924; The Magic Mountain)—earned him the Nobel Prize for Literature in 1929.
Mann’s father died in 1891, and Mann moved to Munich, a centre of art and literature, where he lived until 1933. After perfunctory work in an insurance office and on the editorial staff of Simplicissimus, a satirical weekly, he devoted himself to writing, as his elder brother Heinrich had already done. His early tales, collected as Der kleine Herr Friedemann (1898), reflect the aestheticism of the 1890s but are given depth by the influence of the philosophers Schopenhauer and Nietzsche and the composer Wagner, to all of whom Mann was always to acknowledge a deep, if ambiguous, debt. Most of Mann’s first stories centre in the problem of the creative artist, who in his devotion to form contests the meaninglessness of existence, an antithesis that Mann enlarged into that between spirit (Geist) and life (Leben). But while he showed sympathy for the artistic misfits he described, Mann was also aware that the world of imagination is a world of make-believe, and the closeness of the artist to the charlatan was already becoming a theme. At the same time, a certain nostalgia for ordinary, unproblematical life appeared in his work.
This ambivalence found full expression in his first novel, Buddenbrooks, which Mann had at first intended to be a novella in which the experience of the transcendental realities of Wagner’s music would extinguish the will to live in the son of a bourgeois family. On this beginning, the novel builds the story of the family and its business house over four generations, showing how an artistic streak not only unfits the family’s later members for the practicalities of business life but undermines their vitality as well. But, almost against his will, in Buddenbrooks Mann wrote a tender elegy for the old bourgeois virtues.
The outbreak of World War I evoked Mann’s ardent patriotism and awoke, too, an awareness of the artist’s social commitment. His brother Heinrich was one of the few German writers to question German war aims, and his criticism of German authoritarianism stung Thomas to a bitter attack on cosmopolitan litterateurs. In 1918 he published a large political treatise, Reflections of an Unpolitical Man, in which all his ingenuity of mind was summoned to justify the authoritarian state as against democracy, creative irrationalism as against “flat” rationalism, and inward culture as against moralistic civilization. This work belongs to the tradition of “revolutionary conservatism” that leads from the 19th-century German nationalistic and antidemocratic thinkers Paul Anton de Lagarde and Houston Stewart Chamberlain, the apostle of the superiority of the “Germanic” race, toward National Socialism; and Mann later was to repudiate these ideas.
With the establishment of the German (Weimar) Republic in 1919, Mann slowly revised his outlook; the essays “Goethe und Tolstoi” and “Von deutscher Republik” (“The German Republic”) show his somewhat hesitant espousal of democratic principles. His new position was clarified in the novel The Magic Mountain. Its theme grows out of an earlier motif: a young engineer, Hans Castorp, visiting a cousin in a sanatorium in Davos, abandons practical life to submit to the rich seductions of disease, inwardness, and death. But the sanatorium comes to be the spiritual reflection of the possibilities and dangers of the actual world. In the end, somewhat skeptically but humanely, Castorp decides for life and service to his people: a decision Mann calls “a leave-taking from many a perilous sympathy, enchantment, and temptation, to which the European soul had been inclined.” In this great work Mann formulates with remarkable insight the fateful choices facing Europe.
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From this time onward Mann’s imaginative effort was directed to the novel, scarcely interrupted by the charming personal novella Early Sorrow or by Mario and the Magician, a novella that, in the person of a seedy illusionist, symbolizes the character of Fascism. His literary and cultural essays began to play an ever-growing part in elucidating and communicating his awareness of the fragility of humaneness, tolerance, and reason in the face of political crisis. His essays on Freud (1929) and Wagner (1933) are concerned with this, as are those on Goethe (1932), who more and more became for Mann an exemplary figure in his wisdom and balance. The various essays on Nietzsche document with particular poignancy Mann’s struggle against attitudes once dear to him. In 1930 he gave a courageous address in Berlin, “Ein Appell an die Vernunft” (“An Appeal to Reason”), appealing for the formation of a common front of the cultured bourgeoisie and the Socialist working class against the inhuman fanaticism of the National Socialists. In essays and on lecture tours in Germany, to Paris, Vienna, Warsaw, Amsterdam, and elsewhere during the 1930s, Mann, while steadfastly attacking Nazi policy, often expressed sympathy with socialist and communist principles in the very general sense that they were the guarantee of humanism and freedom.
When Hitler became chancellor early in 1933, Mann and his wife, on holiday in Switzerland, were warned by their son and daughter in Munich not to return. For some years his home was in Switzerland, near Zürich, but he traveled widely, visiting the United States on lecture tours and finally, in 1938, settling there, first at Princeton, and from 1941 to 1952 in southern California. In 1936 he was deprived of his German citizenship; in the same year the University of Bonn took away the honorary doctorate it had bestowed in 1919 (it was restored in 1949). From 1936 to 1944 Mann was a citizen of Czechoslovakia. In 1944 he became a U.S. citizen.
Learn about the life and works of Thomas Mann, a German novelist and essayist who won the Nobel Prize for Literature in 1929. Explore his themes of art, life, and politics in novels such as Buddenbrooks, Death in Venice, and The Magic Mountain.
- Roy Pascal
Thomas Mann is an American actor who starred in films such as Project X, Me and Earl and the Dying Girl, and Halloween Kills. He was born in 1991 in Dallas, Texas, and moved to California to pursue acting at 17.
A biographical sketch of the German novelist and essayist Thomas Mann, who received the Nobel Prize in Literature in 1929. Learn about his life, works, influences, and views on various topics.
Thomas Mann is known for his roles in Project X, Me and Earl and the Dying Girl, and Kong: Skull Island. He was born in Portland, Oregon, and has appeared in TV shows like The Middle and Fargo.
- January 1, 1
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- Portland, Oregon, USA
Thomas Mann was a German author who won the Nobel Prize for his novel Buddenbrooks, a family chronicle inspired by his own background. He also wrote The Magic Mountain, a classic coming of age novel, and opposed Nazism, forcing him into exile.
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Learn about the life and works of Thomas Mann, the German novelist and essayist who won the Nobel Prize for Literature in 1929. Explore his themes, styles, and influences through his novels, such as Buddenbrooks, Death in Venice, and The Magic Mountain.
