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An NYRB Classics Original Stefan Zweig was particularly drawn to the novella, and" Confusion," a rigorous and yet transporting dramatization of the conflict between the heart and the mind, is among his supreme achievements in the form. A young man who is rapidly going to the dogs in Berlin is packed off by his father to a university in a sleepy provincial town. There a brilliant lecture awakens in him a wild passion for learning--as well as a peculiarly intense fascination with the graying professor who gave the talk. The student grows close to the professor, be-coming a regular visitor to the apartment he shares with his much younger wife. He takes it upon himself to urge his teacher to finish the great work of scholarship that he has been laboring at for years and even offers to help him in any way he can. The professor welcomes the young man's attentions, at least on some days. On others, he rages without apparent reason or turns away from his disciple with cold scorn. The young man is baffled, wounded. He cannot understand. But the wife understands. She understands perfectly. And one way or another she will help him to understand too.… (more)
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The narrator, Roland, first relates his hedonistic days as a student at a large university in Berlin. After being discovered by his father, he shamefacedly transfers to a smaller school in a provincial town. Roland was never a very dedicated student. However, when he walks in on his English professor giving a fiery, passionate lecture, he is swept away and delves into the material, transforming into a model student. The professor comes to act as a mentor to him and Roland spends more and more time at his professor’s apartment. He is also introduced to the professor’s wife, a cool and self-effacing woman. Strangely, when Roland meets her in public, she is cheerful and gregarious, seemingly a different person. When Roland decides to help his professor complete his unfinished magnum opus, the fragile relations between the three of them come crashing down.
The literal translation of the original title is something like “Emotional Maelstrom” and this could fit almost any of Zwieg’s novels. Zweig does an amazingly good job of conveying the intensity of the characters’ feelings even when he does some telling instead of showing. However, the English title, Confusion, is also apt – the narrator is frequently uncertain about the thoughts and intentions of the professor and his wife. All the characters have two versions of their selves that are seen throughout the book and there are a number of scenes that have someone “catching” another character in a different mode. Roland’s father walks in on him with a girl, a moment of shame and discovery as well as the start of the actual plot. The narrator switches between thoughtless hedonist and dedicated student but remembering people observing him as the former is a source of embarrassment. The professor also has a double life. Roland catches him as an enthusiastic molder of minds and is inspired. Later, though, he reverts back to an old and tired man going through the motions of teaching. As they get closer, the professor is alternately a kind mentor or cold and insulting. His wife is caught in public by Roland in another confusion scene. This duality clearly leads up to the denouement and there is a related motif of observation and voyeurism. The frequent idea of someone watching becomes oppressive and the climactic scene takes place in the dark. In addition, the whole story is Roland’s memory of the past and it becomes obvious that he has preserved the confusing doubling of his youth – a point made clear in the last sentences.
"The love that dare not speak its name" in Wilhelmine Germany. Zweig's novella from 1926 is dated, but interestingly so. A tale of pedagogy and repression - and in the
As for this story, I enjoyed the refined, poetic voice (sometimes to an almost absurd extreme, but fitting for the "old man putting himself into his younger self to tell a story of the loss of innocence" motif)
I started this just before seeing Wes Anderson's "The Grand Budapest Hotel." I had no idea that he was inspired by Stefan Zweig (swear to God). The connection served to make the film less quirky in retrospect (which was a good thing) and allowed me to see glimpses of humor even in Zweig's brooding.
Zweig seems to have written many bite-sized novellas, which appeals to me these days as I have to steal moments for reading fiction. I will most definitely have another taste. (New York Review of Books e-book editions are available through the library here. Nice.)
I enjoyed this, but sometimes when I read a novel of this length I leave unsatisfied. I feel like there was more that could have been explored here. There's no denying, though, that Zweig's writing is excellent.