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By Irmgard Keun

Sanna and her ravishing good friend Gerti could fairly communicate of affection than politics, yet in Thirties Frankfurt, politics can't be escaped--even within the lady's rest room. Crossing city one night to satisfy up with Gerti's Jewish lover, a blockade cuts off the girls' path--it is the Fürher in a motorcade procession, and the gang is going mad striving to trap a glimpse of Hitler's raised "empty hand." Then the parade is over, and within the lengthy hours after nighttime Sanna and Gerti will face betrayal, loss of life, and the heartbreaking truth of being younger in an period without innocence or romance.

In 1937, German writer Irmgard Keun had just recently fled Nazi Germany along with her lover Joseph Roth while she wrote this slender, beautiful, and devastating publication. It captures the insufferable pressure, contradictions, and hysteria of pre-war Germany like no different novel. but whilst it exposes human folly, the ebook exudes a hopeful humanism. it truly is jam-packed with humor and lightweight, while it describes the 1st moments of a nightmare. After middle of the night is a masterpiece that merits to be learn and remembered anew.

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Tonio Kroger is happy in his love for Hans Hansen and Ingeborg Holm ("for his heart was alive") even though he is fully conscious of the hopelessness of his love. e. before the story opens, or they have never loved happily at all. The marriages which are found in the stories are either unhappy or are not described in any detail. In The Dilettante we find the hero's father and mother divided about their son's future, and the son finds solace generally only with the mother. The marriage between Paolo Hofmann and Ada Stein is ended by Hofmann's early death.

But neither of the two women is completely logical in her position. Anna admits at 26 THE COMING OF THE STRANGER GOD least once that she would have given herself completely if the opportunity had been hers. Frau von Tummler for all her protestations of unconcern is deeply troubled when her daughter reminds her of the necessity for harmony between her life and her ethical convictions. "Destruction of this harmony would mean destruction of yourself," the daughter warns, and nature is quick to affirm this forecast of doom.

Where they occur, as betveen Irma and the student in Fallen, Felix Krull and Genovefa, Siegmund and Sieglinde, or Schridaman and Sita as well as Nanda and Sita, Mann is quick to draw the curtain and shut us out. Only in The Transposed Heads is love given a somewhat broader aspect, but even here he treats its sexual manifestations with delicateness and restraint. To speak of a pattern in Thomas Mann's stories and to find similar elements in widely-separated artistic products might seem to imply that the author has merely clothed the same THE COMING OF THE STRANGER GOD 31 subject in a variety of cloaks.

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