Twelve tales that Mann wrote between 1896 and 1912 (Death in Venice), some quite strange, all with the tell-tale Mann stamp upon them.
The Will for Happiness (1896)- man with fatal heart condition evades death until at long last the father of his beloved allows them to marry. He dies on their wedding night.
Little Herr Friedemann (1897)- crippled by being dropped as an infant, Friedemann falls in love then realizes it is futile since he is grotesque, focuses on being cultured instead. Years later, he falls for a new woman in town who cruelly rejects him, he drowns himself in the creek by her house at a party one night.
Tobias Mindernickel (1897) – old man is laughed at by children, acquires a dog but then beats it, only finds relief in providing succor once he’s almost killed it. Then he does kill it.
Little Lizzy (1897) – attractive woman married to an obese lawyer and openly carrying on affairs that the whole town knows about. She convinces her husband to dress up like a giant baby and sing a number at her party, to his humiliation. “This fat man had the most bizarre character. No one could have been more courteous, more gracious, more obliging than he. Yet without actually articulating it, people felt that his overly friendly and flattering behavior was somehow forced, that it was rooted in timidity and insecurity, and so it got on their nerves. Nothing is uglier than a person who despises himself but who, out of cowardice and vanity, is eager to please because he wants to be liked.”
Gladius Dei (1902)- strange story where a painting of the Virgin Mary is deemed by a passerby to be too seductive, he tries to get it taken out of the window of the gallery that’s selling copies of it.
Tristan (1903) – hints of Magic Mountain in this one— a writer and a consumptive (only the windpipe tho!) meet in a sanatorium and develop a friendship; she dies after having been convinced by him to play Tristan and Isolde.
The Starvelings: A Study (??) – brief portrait of a jealous friend who wishes his lady friend would tell him to wait a bit and hang out with her. Echoes of this show up again in Tonio Kroger.
Tonio Kroger (1903)- fantastic novella, Kroger falls in love with Hans and then with Inge, both of whom he encounters later in Sweden they having married and he having traveled there to get a fresh perspective. “If he was asked what in the world he wanted to be, he would supply different answers, for he was in the habit of saying—and had already written—that he bore within himself the possibilities of a thousand different ways of life, together with the secret awareness that they were all impossibilities.”
“He did not work like someone who works in order to live; rather, he worked like someone who wants nothing but to work because he considers himself nothing as a living person, wishes only to be regarded as a creative being, and otherwise goes about gray and inconspicuous like an actor who has taken off his makeup and is nothing so long as he has nothing to portray. He worked in silent and invisible seclusion, disdainful of those small-minded people for whom talent was a social asset, who, whether rich or poor, went about wild and dilapidated or lived high on the hog with very individualistic neckties, who were devoted to their charming and artistic lives and unaware that good works can emerge only under the pressure of a bad life, that the person who lives does not work, and that an artist must virtually die in order to be fully creative.”
The Wunderkind (1903) – a young skilled composer and pianist pulls the wool over his audience’s eyes, or so he feels.
Harsh Hour (1905) – I think this is Mann’s portrait of Schiller writing? He mentions Don Carlos… it’s late at night, the writer is alone and taking a break to look more holistically at his work. “Do not brood: work! Limit, exclude, give shape, complete… And complete it he did, the work of his suffering. It may not have been good, but complete it he did. And when it was complete, lo and behold, it was good. And from his soul, from Music and Idea, new works struggled upward, resonant and shimmering creations, which, in sacred form, wondrously hinted at their infinite homeland, just as the ocean, from which it is fished, roars in the seashell.”
The Blood of the Walsungs (1905) – bizarre tale of twins who are in love with each other, named after the characters in Die Walkure who they see that night at the opera; they consummate their relationship on the eve of the girl twin getting married off.
Death in Venice (1912) – old man and the sea, feels the travel bug and doesn’t know how to fight it, goes here and there and finally Venice, tries to leave but his trunk gets sent on in the wrong direction, he uses this as an excuse to stay and watch a young boy whom he’s in love with. Disease hits the city, he dies.