Tales of E.T.A. Hoffmann
E.T.A. Hoffmann
Wow. If you think Edgar Allen Poe is weird, you should check out the works of Hoffmann, one of Poe's inspirations and a clear contender for strangest Romantic writer of them all. Despite their obvious age and setting in Hoffmann's Germany circa 1810, the stories are realistic and the settings vibrant enough to enchant the modern reader. It certainly doesn't hurt that the settings themselves are muddled and prone to rapid, disorienting changes. Amazingly enough, the dizziness that we feel alongside Hoffmann's vivid characters is not overwhelming but rather helps to build suspense and prod the reader on. It is hard to put down this book in the middle of one of these twisted tales, and while they can tend towards predictability, there are plenty of surprises to even the most cynical seasoned reader.
Hoffmann approaches the world with a certain enchanting level of unfamiliarity, using familiar faces and places but twisting them ever so slightly to create wholly unfamiliar worlds. The twists and turns of reality are shocking and unsettling, yet they retain a certain enchanting ability. Hoffmann's characters absolutely leap off of the page, and though we may never be sure which ones actually exist or who may be sane or schizophrenic, we are drawn to them as they possess a certain magnetic hold over us. Hoffmann takes his readers on a journey into insanity which may not be so crazy after all. The continually disorienting roller coasters of plots are intriguing rather than frustrating and have a certain fresh feeling even in this era of overwhelming postmodernism.
In this collection, Hoffmann tackles love, music, and mistaken identities with gusto and in brilliantly unique ways. His unique blend of fantasy and reality challenges the reader to follow along and provides many equally appealing interpretations at the end, inviting intellectual discussion but not frustrating the reader. The tales are at once wrapped up nicely and frayed with loose ends, and they are surprisingly all the better for it. Hoffmann's few flaws are relatively minor and exist in the basic writing of the stories rather than being thematic. Hoffmann has a tendency to interrupt a perfectly gripping narrative with a condescending address to the "gentle reader," which is annoying and comes off as overly smug pride. This, however, may be attributed to conventions of his era; being no expert I can only speak regarding my personal experience with the work. Hoffmann also suffers from surprising predictability: though his plots are tangled and twisted, his mysteries are fairly predictable and nearly always end up just as happily as one would wish. The means of getting to the end are unique and compelling, but the endings can seem contrived. This, however, is only a problem in a couple of stories and does not diminish the power of the collection as a whole.
Upon hearing my description of "The Golden Pot," a dear friend asked me if Hoffmann had invented LSD. Some of his stories suggest a certain pharmaceutical habit atypical of his era and highlight his peculiar talent and foresight. Hoffmann's work with illusion and outright hallucination recalls the postmodern as often as it evokes its (then-) contemporary setting, enchanting the modern reader and coming off with amazing success. But for a few basic literary flaws, Hoffmann's work shines among the most imaginative and well-crafted short fiction. His ability to create distinct worlds and characters within the span of fifty pages or less is nearly unparalleled, and his prose is clear where the plot is not, allowing confusion and assurance to intersect in interesting and utterly unique ways. For those interested in a truly different vision of the fantastic and the realm of imagination, Hoffmann's short fiction is an absolute must.
Grade: A-
E.T.A. Hoffmann
Wow. If you think Edgar Allen Poe is weird, you should check out the works of Hoffmann, one of Poe's inspirations and a clear contender for strangest Romantic writer of them all. Despite their obvious age and setting in Hoffmann's Germany circa 1810, the stories are realistic and the settings vibrant enough to enchant the modern reader. It certainly doesn't hurt that the settings themselves are muddled and prone to rapid, disorienting changes. Amazingly enough, the dizziness that we feel alongside Hoffmann's vivid characters is not overwhelming but rather helps to build suspense and prod the reader on. It is hard to put down this book in the middle of one of these twisted tales, and while they can tend towards predictability, there are plenty of surprises to even the most cynical seasoned reader.
Hoffmann approaches the world with a certain enchanting level of unfamiliarity, using familiar faces and places but twisting them ever so slightly to create wholly unfamiliar worlds. The twists and turns of reality are shocking and unsettling, yet they retain a certain enchanting ability. Hoffmann's characters absolutely leap off of the page, and though we may never be sure which ones actually exist or who may be sane or schizophrenic, we are drawn to them as they possess a certain magnetic hold over us. Hoffmann takes his readers on a journey into insanity which may not be so crazy after all. The continually disorienting roller coasters of plots are intriguing rather than frustrating and have a certain fresh feeling even in this era of overwhelming postmodernism.
In this collection, Hoffmann tackles love, music, and mistaken identities with gusto and in brilliantly unique ways. His unique blend of fantasy and reality challenges the reader to follow along and provides many equally appealing interpretations at the end, inviting intellectual discussion but not frustrating the reader. The tales are at once wrapped up nicely and frayed with loose ends, and they are surprisingly all the better for it. Hoffmann's few flaws are relatively minor and exist in the basic writing of the stories rather than being thematic. Hoffmann has a tendency to interrupt a perfectly gripping narrative with a condescending address to the "gentle reader," which is annoying and comes off as overly smug pride. This, however, may be attributed to conventions of his era; being no expert I can only speak regarding my personal experience with the work. Hoffmann also suffers from surprising predictability: though his plots are tangled and twisted, his mysteries are fairly predictable and nearly always end up just as happily as one would wish. The means of getting to the end are unique and compelling, but the endings can seem contrived. This, however, is only a problem in a couple of stories and does not diminish the power of the collection as a whole.
Upon hearing my description of "The Golden Pot," a dear friend asked me if Hoffmann had invented LSD. Some of his stories suggest a certain pharmaceutical habit atypical of his era and highlight his peculiar talent and foresight. Hoffmann's work with illusion and outright hallucination recalls the postmodern as often as it evokes its (then-) contemporary setting, enchanting the modern reader and coming off with amazing success. But for a few basic literary flaws, Hoffmann's work shines among the most imaginative and well-crafted short fiction. His ability to create distinct worlds and characters within the span of fifty pages or less is nearly unparalleled, and his prose is clear where the plot is not, allowing confusion and assurance to intersect in interesting and utterly unique ways. For those interested in a truly different vision of the fantastic and the realm of imagination, Hoffmann's short fiction is an absolute must.
Grade: A-
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