The Magician

Starred review from July 12, 2021
The Booker-shortlisted Tóibín (House of Names) unfurls an expansive fictional biography of Thomas Mann, a Nobel laureate who was devoted to family, obsessed with physical beauty, and driven by desire. Tóibín draws on excerpts from Mann’s diary entries, exposing unrequited loves and erotic encounters with male classmates and boarders as a young man in Lübeck, Germany, around the turn of the 20th century. The Mann who emerges in these pages is a man led by dangerous impulses and constantly pursued by the “lure of death and the seductive charm of timeless beauty” who creates a thinly veiled depiction of a merchant family from Lübeck in Buddenbrooks, records his hypersexual attraction to a young Polish boy in Death in Venice, and draws from his visits to his ailing tubercular wife at a sanatorium for The Magic Mountain. An academic sojourn in Princeton and worldwide lecture tours lead a U.S. State Department official to tell him, “after Einstein, you are the most important German alive.” But a series of traumatic events including several suicides (siblings and two of his six children) compound the effects of the wars and his struggles with his sexuality, and he goes into exile in the Pacific Palisades. The glory of music dominates much of the novel—the strains of Wagner’s Lohengrin; the “collision between bombast and subtlety” of Mahler’s Eighth Symphony; and the glow said to have radiated from Bach when his music was performed, which Mann aspires to replicate in prose. This vibrates with the strength of Mann’s visions and the sublimity of Tóibín’s mellifluous prose. Tóibín has surpassed himself.