Thomas Mann was a German novelist and Nobel laureate whose Buddenbrooks, The Magic Mountain, and Doctor Faustus established him as one of the twentieth century's most important and demanding writers of fiction.
Thomas Mann won the Nobel Prize in Literature in 1929, by which point he had already published two of his greatest novels: Buddenbrooks (1901), the multigenerational saga of a Lübeck merchant family’s decline, and The Magic Mountain (1924), a philosophical novel set in a Swiss tuberculosis sanatorium in which the ideas contesting for Europe’s soul — humanism, rationalism, disease, and death — are dramatized through a cast of brilliant talkers. Mann’s method is essentially Wagnerian: the elaboration of leitmotifs, the sustained build toward climax, and the insistence on intellectual density.
Death in Venice (1912), the novella about an aging writer’s fatal obsession with a beautiful boy in a cholera-stricken city, is his most perfectly constructed work. In a hundred pages Mann compresses questions about art, beauty, decadence, and the irrational that his longer novels take hundreds of pages to explore. It has never been out of print.
Doctor Faustus (1947), written in American exile during the Nazi period, is his most ambitious late novel: the fictional biography of a composer who makes a Faustian bargain for artistic greatness, read as an allegory of Germany’s catastrophic bargain with fascism. The Joseph and His Brothers tetralogy is his most sustained achievement — a vast mythological retelling of the Old Testament narrative that took sixteen years to complete. Mann’s place in world literature is secure; accessibility is another matter, and most readers are well served by beginning with Death in Venice before approaching the longer works.