EL GOLEM. GUSTAV MEYRINK. Sueño. La luz de la luna cae al pie de mi cama y se queda allí como una piedra grande, lisa y blanca. Cuando la luna llena. Der Golem by Gustav Meyrink. Book Cover. Download; Bibrec. Bibliographic Record Download This eBook. Format, Url, Size. Read this book. eBook or full complete details are online at: raudone.info • ABOUT Mike Mitchell's translations include the novels of Gustav Meyrink and Herbert.
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The Golem - Gustav Meyrink - Free ebook download as PDF File .pdf), Text File ( .txt) or Golem, surviving working papers show that originally there were al. Gustav Meyrink´s El Golem read online and download free ebooks for your reading devices. Freeditorial more than ebook to download free. Gustav Meyrink free books for your site, tablet, IPAD, PC or mobile. El Golem es una de las novelas más singulares del género fantástico y.
The Golem appears in serial form in Die Weissen Blatter. It is Meyrink's first novel. Official change of name to Meyrink. Walpurgisnacht published. The Golem by Gustav Meyrink, is an early 20thcentury literary gothic published in Gustav Meyrink's The Golem, which is celebrating its centenary, is one of the most absorbing, atmospheric and mindboggling slices of fantasy ever committed to print.
On July 16, his daughter Sybille Felizitas was born. On January 17, , the day before Meyrink's fortieth birthday, the second son, Harro Fortunat, was born.
Subsequently, the main character of the second Meyrink's novel The Green Face was given the same name. In the third compilation of short stories, Waxworks, was published. Being in need of money, Meyrink started working as a translator and he became a prolific one; during five years he managed to translate into German fifteen volumes of Charles Dickens , as well as work by Rudyard Kipling and Lafcadio Hearn.
Meyrink also edited a series of books on the occult. It was a compilation of short stories from the previous three books and several new ones; the title is a parody of Des Knaben Wunderhorn. Many of these stories had satirical styles, ridiculing institutions such as the army and the church; Austrian writer Karl Kraus would later describe Meyrink's work as combining " Buddhism with a dislike for the infantry".
The main character is Athanasius Pernath, a contemporary lapidary from Prague. It is left to the reader to decide whether Pernath is simply writing down his hallucinations or gradually becoming a real golem.
Frenschkowski describes the Golem as both "a deep-footed initiatory tale and an urban fantasy ". In one more compilation of short stories, Bats, and soon a second novel, The Green Face , was published. The next year his third novel, Walpurgis Night, was written.
His first marriage had collapsed, and he had taken up with another woman, whom he later married when his first wife granted him a divorce. This second wife was slandered by an Army reserve officer, one Dr. Bauer; we can only guess what the doctor said about her.
El golem gustav meyrink books
Meyer demanded an apol ogy, which was refused, and found that under the mores of the time his recourse was to challenge the doctor to a duel. The doctor refused although such duels were not illegal , and his refusal was backed by the military authorities, the Prague newspapers, who defended the officer corps, and the police, who took to harassing Meyer.
A court of honor called by Bauer ruled that Meyer was not capable of receiving satisfaction, since he was illegitimate. The doctor was saved by Meyer's oppor tune arrest, and it is hardly any marvel that Meyrink, as his writings show, retained strong feelings about regimental surgeons, the officer corps, militarism, and police commissioners.
Der magische Schriftsteller Gustav Meyrink, seine Freunde und sein Werk
Meyer spent almost three months in jail while his affairs were mi nutely scrutinized. He was completely cleared by the commission and released in April, , a ruined man. His reputation was gone; his enemies simply winked and laughed about offenses that were just outside the law. A illness, too, from which he had been suffering for several months was seriously aggravated.
This was a spinal affliction, which was diagnosed as tuberculosis of the spine. As a result of this triple crucifixion Meyer the playboy banker was dead, and in his place stiffly stood a gaunt, tired, tortured-looking man, who eventu ally recovered enough to walk about carefully, but suffered periodic relapses of his ailment until his death. Meyer, on leaving the prison hospital, sued the newspapers which had libeled him, but without success.
He now found himself without a livelihood and without a home, since life was impossible in Prague: he was marked by the military and the police.
His salvation came from an unexpected source. While in a sanatorium, not long before the Bauer affair exploded, Meyer had made the acquaintance of the writer Oskar Schmitz, the brother-in-law of the artist Kubin, and Schmitz, recognizing Meyer's ferocity of wit, his bizarre and powerful imagination, and his gift with language urged him to try writing. Jouralism was not an empty mirage for beginners in Germany and Austria at that time, for Germanic art-nouveau culture was still bur geoning, and was vined with many excellent literary periodicals, which occasionally failed for their backers, but served to keep writers and artists in food.
Following Schmitz's advice Meyer sent a satirical story to the highest of all German magazines, the brilliant Simplicissi mus. According to a reminiscence, which is generally accepted, the subedi tors of Simplicissimus threw Meyrink's manuscript into a wastebasket. During an editorial conference which followed, Thoma, the editor-in chief, being bored, began to poke around the wastebasket with his cane.
He knocked out Meyrink's manuscript, and read it with increas ing excitement. Gustav Meyrink he now re mained for all his writings; in he changed his name legally to Meyrink. This explains the confusion of library card catalogues, which variously refer to him as Meyrink, Gustav, pseud. The debacle had taken place in For the next decade or so Meyrink made a scanty living from writing of various sorts.
He con tinued to sell material to Simplicissimus, where he was popular with much of the readership, but was a painful experience to the balloon folk whom he pricked. Besides being an original and powerful satirist, Meyrink was also a fine hand as a parodist, as can be seen from his travesties of the regionalists.
He rewrote the story of Job in Hamburg dialect, deflating Frenssen, who later became notorious as a neo-Pa gan; he imitated Gerhart Hauptmann with admirable obscurity; and he played havoc with Swiss Heimatkunst in "Das Wildschwein Vero nika," the story of a wild sow who becomes a landmark of Swiss culture and marries a music critic. In bitteress, savagery and verbal brilliance Meyrink's work is very siilar to tat of Ambrose Bierce. For a short time Meyrink was on salary with Simplicissimus, but he did not fulfill his commitments and he was dropped.
He always had many more ideas than finished stories, and his correspondence was haunted with ghost projects. His books during this period, however, were largely based on contributions to Simplicissimus and similar magazines, such as Hermann Hesse's Mirz.
This last title indicates what Mey rink was driving at in one of the strangest collections of satires, traves ties, insolent essays and very odd fantasies ever published. The full title, of course, is a slight ing parody of Brentano's Des Knaben Wunderhor, one of the sacro sanct classics of nationalism.
In Vienna, , he edited a periodical called Der liebe Augustin, a would-be competitor to Simplicissimus. Unfortunately Der Hebe Augustin did not have the financial backing it deserved, and it soon collapsed.
A good deal of routine work also busied Meyrink during this peri od. Vier eck. His English was excellent, and it is obvious in reading his later works that Dickens's concept of grotesque characters influenced Mey rink as much as had Hoffmann's.
From about to Meyrink tried his hand at the stage, and in collaboration with the Roumanian expatriate Roda Roda he wrote four plays, none of which was especially successful either artistically or financially. As a somewhat related project which had obvious link ages with his occult studies he tried to establish a puppet theatre for playing serious, symbolic works as well as crowd-pleasers.
This con cept, which was never brought to actuality, finds echoes in Der Golem. In Vienna and Munich Meyrink was a passionate cafeteer, an im portant member of the various small literary and artistic coteries who met in cafes and played chess, solved the problems of the arts and the world, and also drank coffee.
Meyrink was helpful to younger men, and it was in the cafes that Max Brod and Kokoschka sought him out. Meyrink sometimes joined in the discussions, sometimes played the role of the older man who bought the drinks. His coterie was avant garde, liberal, interationally minded and very largely lewish-a situ ation which Meyrink's Nazi enemies were later eager to point out.
A major change in Meyrink's life came with the publication of Der Golem.
It appeared in periodical form in and , and was issued as a book in It became an immediate best-seller. Selling over , copies, it brougt Meyrink's name out of the satirical E. A good-sized part of this public did not like what it saw in Meyrink, however, and once again he became a cause celebre.
Meyrink was strongly opposed to W orId War One, and as has been previously stated, he scoffed at most of the concepts that were floating high during the war years. He ridiculed the military caste and the Junkers, sneered at pan-Germanism, loathed authoritarianism in the administration, and scoffed at ideas of racial purity and the sanctity of German womanhood.
As an Anglophile he even questioned the superiority of German Kultur.
As the war progressed through the later years and the initial feeling of exuberance disappeared in the Central Powers, Meyrink began to pay for his individualism.It is a strangely serene stor, filled with odd detai, thought-provoking for the reader who wishes to try to unravel its symbolic threads in detail, but highly personal for Meyrink, and much less accessible than the earlier nov els. In the third compilation of short stories, Waxworks, was published.
According to their first plan Der "Golem was to have been a collaboration of a sort with Ku bin: as Meyrink finished chapters of the novel he was to send them to Kubin, who would prepare an illustration for each. He died on December 4, in Starnberg , Bavaria, Germany.
Innocence Charousek: a consumptive, poverty-stricken student consumed with hatred for Wasserturm and his son, Dr. While not too much is known about the earlier versions of Der Golem, surviving working papers show that originally there were al most twice as many characters; that Rosina, the whore who wanders in and out of the story peripherally, almost on a symbolic level, was to have been the most important female character, an opposite foil to Miriam; that Angelina was to play a larger role; that Perath was not so central; that Charousek at a very early stage of the planning was, to disguise himself as the Golem in order to frighten Wassertrum into suicide; and, also at this very early stage, that the Golem was to have been simply a ghost.
It became an immediate best-seller. Fata verde ebook. Meyrink may have hated Prague as much as he loved it, but he was obviously fascinated by it and Prague enters into his works over and over.
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