Word: aschenbach
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Dates: during 1980-1989
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...fiction must be provided with the most realistic of foundations. This was an article of faith with Mann from the outset of his career." And where was he to find those foundations? In the lives of his colleagues and contemporaries, no matter how vulnerable they were; art was everything. Aschenbach, the enfeebled aesthete of Death in Venice (1913), for example, was modeled after Gustav Mahler, who was dying at the time. "Nothing is invented in [the story]," Mann boasted,as if the confession added to his stature as an artist...