By Kafka, Franz; Mann Thomas.; Musil Robert.; Dowden, Stephen D.; Broch Hermann.; Musil, Robert; Mann, Thomas; Kafka, Franz; Broch, Hermann
Publication through Dowden, S D
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Additional info for Sympathy for the abyss : a study in the novel of German modernism : Kafka, Broch, Musil, and Thomas Mann
Example text
As a novelist in an era with no intrinsic style of its own, Müller has posed an interesting problem for himself. What is to be the style of his own artistic work? His solution - like the actual solutions of James Joyce and Thomas Mann - is to write novels in self-critical parody of past styles. He casts Pasenow in the manner of Fontane's realism and gives to Esch the characteristic patina of naturalism. He composes the Huguenau in a systematically fragmented anti-style that is meant to reflect the chaotic disorder of the lives of those living in the styleless era of World War I.
Turning now to Der Tod des Vergil, we see that the situation is somewhat altered. By the same token that Gide's Edouard was a precursor to Broch's Müller, Joyce's language in Ulysses and Finnegan's Wake showed the way to the idiom of The Death of Vergil. In Broch's second major novel, the figure of the narrator-author disappears into the vastness of the novel's sea of words. 16 For instance, when August Esch looks at a travel poster that depicts a ship putting out to sea, he begins to consider emigrating to America.
The twentieth century has lost confidence in objective reality for reasons of secular epistemology and because of a disappointment in the failure of enlightened humanism to fulfill the Utopian expectations that it had generated. The Baroque flight into religion is no longer possible: Broch reduces the Church to a shabby and impotent Salvation Army Band. This pathetic group of proselytizing tambourine-bangers is all that remains of traditional Western religiosity in the world of Broch's sleepwalkers.