/lit/ - Literature

>>19264715
Many of the books worth adapting have already been adapted. It's just that they've not been done 99% of the time with any degree of care. With the proper skill even an only halfway decent work like Thackeray's Barry Lyndon has made an excellent movie adaptation because of Kubrick's attention to detail, though by most metrics something like Anna Karenina is the better novel, though of its many many adaptations no one has made anything that even approaches Tolstoy's work a quarter of the way, let alone halfway.

That said: I'd like to see one of The Charterhouse of Parma, mainly because there's never been even a halfway good picaresque film. Mainly I want to see one of Celine's Journey to the End of the Night (even if he's a bit of a politically charged author). I read somewhere that Godard wanted to do it but got sidetracked. Tarkovsky I believe wanted to do Mann's Doctor Faustus, which I would have given my left nut to see with the right score. If I were rich I would certainly fund either of those

>>14045443
He had a run in with Mephistopheles during his days in the Vienna underground, arguably during the absolute lowest points in his life. How many other thousands of homeless people existed on those streets at that time and in history, and how many exactly have emerged from that muck to become effectively ruler of the German speaking peoples? Truly anyone who did would have demonic willpower, where everything else in their lives would be sacrificed to that will, which is why Hitler often appears opaque in his later years, no one can get an exact finger on his personality because he has sacrificed it. Or rather him, Goering, and Goebbels are all contenders for the Faustian bargain, ironically with Himmler being the only really involved in occultism dying a beta death. In other words the first half of the 20th century was pretty /lit/

>>12682437
Have you ever read this book anon?

>Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul - and the ability to love his fellow man.

It's no easy read, and the music Adrian Leverkuhn composes is likely nothing like what people compose today, but it's the book on artistic composition that everyone who wrote about artists before could only wish to write. Mann so effortlessly blends history, fiction, music, and philosophy including the Faust theme that if it was published in the 1920's or so it would have make everyone collectively cum (though if you read it you would realize it would have been impossible for it to have been published then since certain historical events hadn't happened yet), but it bears all the strange hallmarks of late style. Not the type of book that one beings their career with but one that rounds off an already full bibliography, so maybe that'll influence you more since Mann had already wrote fairly conventional works about the artist's search for meaning in novella's like Tonio Kroger, but this is another beast entirely

Slogging, dense, intentionally obscured by an external narrator, but makes for great reading in music theory and WW2 metaphor. Arguably the most modernist piece Mann has done (Venedig being the exception) rather than his bourgeois humanist literature. Or it could just be summarized in the /lit/ fashion:
>Is Leverkuhn, Faust, Schoenberg, Hitler, ME? Teehee, I'll never tell!

Did Thomas Mann want to cum all over Beethoven's music or what?

>>10163453
Just for you Adrian, Richard, Herman(n), and Hans