In this entertaining satire of empire, Christian Kracht makes use of a nihilistic magic realism, without the sweetness one normally associates with that mode.
Elsewhere is a tragicomic work, its plethora of absurd coincidences an attempt to portray the senseless plight of the post-postmodern man.
The omniscient narrator in Natura Morta is flawlessly neutral, allowing the images, the minimal action, and the character’s reactions to the events of this single day in a Roman square tell the story.
Perhaps a movie such as “The Grand Budapest Hotel, which is much more than a zany comedy, can lead us back, as director Wes Anderson may have intended, to the fabulous writing of Stefan Zweig.
Autobiography, personal essay, history, current affairs, or literary criticism, many are the guises under which travel writing has seduced readers of decidedly categorical bent.
Sponsored by the Harvard Writing Program and the Harvard Summer School, the event was introduced, perhaps humorously, to the audience as a “meeting of German–American relations.” In reality, it was a more of a showcase in differences about each country’s historical imagination.
Stefan Zweig’s was a dramatic, action-packed, intense epic of a life, but Oliver Matuschek’s biography, Three Lives, simply plods along.