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\"This complete edition of letters and documents between Arnold Schoenberg and Thomas Mann brings together two towering figures of twentieth-century music and literature, both of whom found refuge in Los Angeles during the Nazi era. Culminating in the famous dispute over Mann's novel Doctor Faustus, the correspondence, diary entries, and related articles provide a glimpse inside the private and public lives of these two great artists, the outstanding figures of the German-exile community in California. In the thicket of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make enemies of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by rich primary source materials and an introduction by Germanic scholar Adrian Daub that contextualizes the impact the artists had on twentieth-century thought and culture\"--Provided by publisher.

In recent years an increasing amount of attention has been devoted to the English translations of Thomas Mann's works. Most of the studies published to date have focused on the renditions of his established translator, Helen Tracy Lowe-Porter, and have restricted themselves to Mann's major texts. However, Mann's Das Gesetz—his only fictional text to appear in English before being published in German—is also highly interesting in this context. The article explores the genesis and characteristics of George R. Marek's original translation, referring to hitherto unpublished material relating to the co-operation between Mann and his translator.

Review.

\"Letters of Heinrich Mann and Thomas Mann, 1900-1949\" edited by Hans Wysling.

\"Doctor Faustus\" by Thomas Mann and translated by John E. Woods and \"Letters of Heinrich and Thomas Mann, 1900-1949\" edited and with an introduction by Hans Wysling and tranlated by Don Reneau are reviewed.

\"Letters of Heinrich and Thomas Mann\" edited by Hans Wysling and translated by Don Reneau, Richard Winston and Clara Winston is reviewed.

Imagine for a moment that Saul Bellow and Herman Wouk had been born in the second half of the 19th century as brothers in a close-knit German family; that throughout their long, productive and prominent careers they had copiously corresponded; that Saul (prose poet of conflicted subjectivity) and Herman (purveyor of a solidly crafted if shallower realism) had both let their affection, vying and percipience flow through their pens at each other; that the exchange reflected not only their respective auctorial stances but the tremors and pressures of history all around them. Imagine all that, and you'd have a rough idea of \"The Letters of Heinrich and Thomas Mann, 1900-1949.\" And perhaps because he can't stop fretting, he must keep hustling, a business all the queasier for being conducted on an august level. In 1912, long eminent, Thomas reports to Heinrich how the director Max Reinhardt is being pressured by an influential journalist to stage Thomas' play \"Fiorenza.\" Even in 1934, already a Nobel laureate, hence a certified dweller in Olympian altitudes, Thomas tells Heinrich of rather down-to-earth moves with Hollywood director King Vidor, involving film rights to his first \"Joseph\" novel: \"I signed the option contract somewhat hastily, since {Max} Reinhardt and {Franz} Werfel are planning a big Old Testament spectacle of their own, and I have to fear that {King Vidor} will respond by jumping ship.\" Did Thomas, angling like this, compromise his artistic credo? He was honoring it. To him, the artist was defined by his vulnerability to evil. Temptation is the flash point of inspiration. Thomas' most affecting heroes are transmoral, from the confidence man of \"Felix Krull\" to the composer Adrian Leverkuehn trafficking with Satan in \"Doctor Faustus.\" Not that being creative means being immune to ethics. However, the pangs that ethics visit upon the artistic conscience serve primarily to animate the aesthetic venture. T.S. Eliot (a closer spiritual kin to Thomas than Heinrich) said, \"A bad writer borrows. A good writer steals.\"

Review.

John Simon reviews the books \"Letters of Heinrich and Thomas Mann, 1900-1949,\" edited by Hans Wysling and translated by Don Reneau, with additional translations by Richard Winston and Clara Winston and foreward by Anthony Heilburt.