I read this book on a twenty four hour train journey surrounded by the bourgeois. It was a terrifying experience. The book didn't change my life and was not meant to, but it gave me hope and hope is always a good thing.

The influence of Indian spirituality on this book is apparent, but Hesse chooses to dissect it using the prism of Western pessimism. He talks about the multiplicity of the self and the infinite potential associated with it, how we often choose to attach fanciful restrictions to the limitless and that every man can have his place among the Immortals. The influence of unfulfilled desires in the making of the personality and its inherent disorders and the possibility of conquering those to mould a 'new' self are also prominent themes which again run parallel to the Indian concept of rebirth.

The book has layers far too many. Each time I indulge in a flight of introspection, much Harry Haller, or so I would or wouldn't to believe, I stumble upon a different and equally vague interpretation of the book.

This book is great literature. It is magnificently vague and by turns sincerely hopeless and insincerely hopeful but eventually redeems itself by offering hope for the hopeless.


favorites must-read-at-least-once703 s Sean Barrs 1,122 46.6k

Hermann HesseÂ’s words are timeless. Here they represent an entire disaffected generation, a generation who is on the cusp of radical change but still partly exists in the old world. They are out of space and out of time: they are lost within themselves. However, such things can aptly be applied to a number of individuals across the ages. And, for me, this is what made the novel so great.

Through these pages Hesse evokes a character I have seen many times before across literature, but never before with such clarity. Harry Haller is one such man. His intellect is, undoubtedly, worthy of genius, though such a thing is wasted because he has no proper channel for such intellect. He has lost his faith in humanity and has completely withdrawn from the world, so he makes his own world: he has created his own ideal environment within his thoughts. His loneliness is that extreme, he has written an idealised account of his life that never happened. He wants hope, so he creates it himself in the form of a counterpart, a soul mate: Hermione.

She gives him back everything he has lost, his confidence, his hope and his sexual energy. He has passion or life once more. And this is why the novel is so terribly sad. None of this is actually happening; it is the desperate ramblings of a mind trying to heal itself in a world where it can find no sense of belonging or purpose. This imagined woman becomes a lifeline, a beacon in the middle of the dark shores of modernisation. Andre BrettonÂ’s Nadja the idealised female becomes a means of escape for the lost modern man. As per the surrealist mode, reality is warped in an attempt to find some higher truth. Her presence is the only thing preventing Harry from killing himself and surrendering to the endless sleep.

For Harry is a man split in two: he is the Steppenwolf.

“There is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside of them for reality and never allow the world within to assert itself.”



He believes himself to be half man and half wolf. He has all the sensibilities of a normal man, but overshadowing his character is the romantic longings of a wild creature. In such a modern world his desires and natural drives are unfulfilled; they are repressed and controlled resulting in severe depression and low mood. He cannot be who he was meant to be because the space he exists in does not allow it. The time, the age, does not allow it. So he is trapped, and he so desperately needs a root out. That much so he makes one up for himself out of words.

The switch between reality and imagination is extremely hard to notice within the narrative. It happens very early on, and there are many different layers of storytelling. The story we are hearing is actually a journal penned by Steppenwolf and read by the hotel manager. Although the narrative does raise questions, many really, it is not until the end of the novel that the ripples of doubt are confirmed as delusional confirmations. Perception is everything here, perception of the self and of the world. Although such complex imagining may sound detrimental to mental health, they take on the form of a coping strategy for such a lost individual.

Although Steppenwolf is a middle aged misanthrope, I donÂ’t hesitate to say that this book will resonate within the bosom of many a reader. Particularly the young and the dispossessed will relate to his tale. I know I do in part. It is easy to become lost in life, and it is easy to feel alone in a world that you donÂ’t relate to. But un HesseÂ’s Siddhartha this novel does not attempt to evoke an inner sense of peace and tranquillity as an effort to solve such problems that life throws at us. A resolution would have been unnecessary here because that is not what Hesse is trying to show us.

Instead with Steppenwolf we receive a vision of a man who has wasted his life in self-pity and self-induced isolation. Is this a projection of the authorÂ’s feelings? I donÂ’t think we can actually say for sure, but one thing remains absolutely certain: Steppenwolf is a life lesson for those who do not want to receive the same fate.

Facebook| Twitter| Insta| Academia5-star-reads modernist-movement457 s Lyn1,917 16.9k

Kurt Vonnegut, one of my literary heroes, said of Hermann Hesse’s novel Steppenwolf that is was “the most profound book about homesickness ever written”. Vonnegut also went on to describe how Hesse speaks to young readers, how he speaks to the essence of youth and offers hope.

many readers, I first encountered Hesse as a young person, for me it was when I was in high school. HesseÂ’s illustration of isolation and being misunderstood spoke to me as a youth, as I imagine it has for many young people.

Hesse said, “Of all my books Steppenwolf is the one that was more often and more violently misunderstood than any other”. Of course, the book was written about a man as he turns 50, not a youth.

But I think I can understand why this also speaks to young readers. What Hesse describes, and his use of the lone wolf of the steppe as a symbol is brilliant, is about a time when an individual finds himself alone and in transition – as in a mature man who approaches old age, or as a young person leaving behind the securities of childhood for the uncertainties of adult life.

Similar to HesseÂ’s earlier novel Siddhartha (1922) in Steppenwolf (1927) the protagonist experiences a dynamic journey through self-discovery and spiritual exploration. Also reminiscent of the earlier work, Steppenwolf reveals a cathartic summation after a romantic interlude.

Hesse also demonstrates how man is more than a single entity, more even than the more obvious duality – as suggested by Haller’s belief that he is half man and half wolf – but the combination of tens, hundreds, or even thousands of souls. This confirmation of Eastern thought is ubiquitous in Hesse’s work and shows a kinship to Jung.

Complicated, multi-faceted and sometimes difficult to follow, Hesse presents an important contribution to 20th century literature.

*** 2023 reread -

I reread this because I realized that I am now at the age Hesse wrote this for, a man in his 50s and at a transitional phase in life.

A little sadly, this has not held up as well as I hoped. The reason is mainly a demonstration of how our society has changed due to increases in the complexity and sophistication of our technology.

When Hesse was writing this for the protagonist, Haller, who, from the vantage of middle age, looks back on the savage misanthropy of his earlier days and reflects on who he is now and what’s important to him. The word and concept “bourgeois” was used repeatedly and often in the text and described Haller’s separation from society largely based upon his alienation from bourgeois ideals.

In the 1927 of it’s publication, bourgeois was used to reflect not just middle class, but of the rising importance of the middle class and the sentimentality that went along with this socio-economic group. Haller “came in from the cold” to use an espionage term, as he rejected his earlier wild and wanton disregard for such sentiment and embraced the comforts available to him at this advanced age.

Almost a hundred years later and there are certainly still class distinctions, but those lines have largely blurred into other forms of class identity and so HesseÂ’s otherwise spot on narrative has lost some of its appeal. It is still very well written and an excellent statement about changes in life and how an individual approaches these changes. Still worth reading but may need some further study for a modern reader to grasp all of what Hesse was saying.

392 s1 comment Glenn Russell1,427 12.4k




Many literary novels are page-turners, filled with a compelling, straightforward storyline and lots of action; think of Our Mutual Friend and Crime and Punishment, think of Heart of Darkness and No Country for Old Men, or novels The Girl with the Dragon Tattoo or The Spy Who Came in from the Cold.

Hermann Hesse's novel Steppenwolf is a work of a completely different cast; a reader might find the story gripping, even riveting, but for much different reasons, for the action takes place not in a major city or obscure outpost but primarily in the mind.

Our first introduction to main character Harry Haller is through the eyes of the thirty-something middle-class nephew of Haller's landlady. The nephew observes how Haller lives a lonely, unsocial life and refers to himself as an old Steppenwolf. The nephew's curiosity prompts him to enter Harry's room, where he discovers stacks of books by authors such as Goethe, Jean Paul, and Dostoevsky; a statue of the Buddha; a photo of Gandhi; empty brandy bottles; and half-smoked cigars. In a word, living quarters bespeaking a chaotic, artistic lifestyle.

The nephew explains how Harry suddenly vanishes from the apartment, leaving a manuscript entitled "HARRY HALLER'S RECORDS" that warns potential readers that what follows is "FOR MADMEN ONLY." It is this record that comprises the remainder of the novel. Harry records how he has two natures in conflict: one as a reflective, refined, cultivated gentleman, and the other a wild wolf of the steppes. As such, he is a Steppenwolf, a despiser and destroyer of the middle class who is at the same time supported and comforted by the middle class. Harry's conflict causes him to become so depressed that he sets his fiftieth birthday as the date for taking his own life.

But life has other plans for Harry the Steppenwolf. We read how Harry encounters a dream inscription over a door in the old section of town. Then the fun begins. Harry's identity and view of reality are challenged by a series of happenings, most notably meeting the beautiful young Hermine, who can be considered in a number of ways: as Harry's double, his doppelgänger; as a reflection of Harry's inner, spiritual self; or as a Jungian archetypal, female part of his psyche - his `anima.'

Hesse wrote Steppenwolf fresh from his own Jungian psychoanalytic experience. Indeed, Hesse plays with the idea of doubles, mirrors, and archetypes throughout this novel. Harry's world is further jazzed up with the entrée of jazz saxophonist/shape-shifter/sensualist Pablo and the beautiful and voluptuous Maria. Jazz, dancing, drugs, and sex all contribute to the death of the formerly old and depressed Harry, transforming him into a revitalized man poised for a full range of experiences at the much-anticipated masked ball.

The masked ball is the final section of the novel. In one of the inner rooms Harry encounters the Magic Theater, which enlarges any previous notions he might have held of both magic and theater. Harry is informed that there is a definite admission price to this theater: "PRICE OF ADMISSION YOUR MIND." Pablo explains to Harry how the theater has as many doors and boxes as one pleases, ten or a hundred or a thousand, and how "behind each door exactly what you seek awaits you."

Wild! And as we enter and move through the Magic Theater, things become progressively wilder. Recall how Timothy Leary encouraged users of LSD to consult this part of Hesse's novel as a manual to negotiate their hallucinogen-induced trips. Hesse would probably have objected to Leary's statement: He wrote in 1961, "... it seems to me that of all of my books Steppenwolf is the one that was more often and more violently misunderstood than any other, and frequently it is actually the affirmative and enthusiastic readers, rather than those who rejected the book, who have reacted to it oddly."

On this point I agree with Hesse--you need not take LSD to enter The Magic Theater; what you really need is openness and imagination, along with the willingness to courageously peer into the subconscious and unconscious areas of your own psyche. If you have a few decades of adult experience, as Hesse evidently hopes, so much the better.favorite-books275 s Ahmad Sharabiani9,564 148

(Book 684 from 1001 books) - Der Steppenwolf = Steppenwolf, Herman Hesse

Originally published in Germany in 1927, it was first translated into English in 1929.

Combining autobiographical and psychoanalytic elements, the novel was named after the German name for the steppe wolf.

The story in large part reflects a profound crisis in Hesse's spiritual world during the 1920's while memorably portraying the protagonist's split between his humanity and his wolf- aggression and homelessness.

???????? ??? ??? ?? ?????: «??? ??????»? «??? ?????? - ??????? ???????? ? ????? ???????»? ???????: ????? ???? ???????????: (????? ????? ? ??? ???? - ??????? ??????? ?????? ???? ??????? ????)? ????? ?????? ?????: ??? ???? ??? 1974??????

?????: ??? ??????? ????? ???? ?????: ??????? ????????? ??? ???? ?????? ????? ????? ? ??? ????? ??? ??? ??? 1346? ?????? ??? ?? ??? ?????? 1368? ?? 368?? ???? 9645960320? ??? ??? 1376? ???? 9645960320? ??? ??? 1383? ??? ????? 1388? ??? ???? ?????? ???? ??????? 1394? ?? ?? ? ??? ? 346?? ???? 9786001215728? ?????: ????????? ????????? ????? - ??? 20?

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?????: ???? ??????? ????? ?????? ????? 1391? ?? 232?? ???? 9786001760778?

??? ?????? ?????? ??? ?? ??? 1927??????? ?? «?????» ????? ??? ? ?????? ??? ?? ??? 1929?????? ?? ???? «???????» ????? ??? ??????? ? ?????? ?? ??? ???? ????? ???????????? ? ???????? ??? ?? ?? ????? ????? ???? ?? ????? ????? ??? ???? «????? ???» ??? ?? ????? ???? ???? ??? ????? ???? ?????? ? ????? ?????????? ? ?? ??????? ????? ?????? ?? ??? ??? ?? ?? ??? 1920??????? ?? ??????? ?????????? ? ...?

??? ?????? ???????? ?? ?? ???? ???? ?? ?????? ??? ?? ???? ??? ? ???? ????? ????? ?????? ??? ?????? ?????? ????? ?? ?????? ????? «???» ? ????? ??????? ??????? ???? ???????? ?? ????? ?? ??????? ?? ????????? ??????? ???????? ?? ?????? ?????? ?????? ???? ????? ?? ?? ????????? ????????? ? ?????????? ???? ???????? ????????? ? ???? ?????? ?? ???? ?????? ???????? ?? «???» ??????? (?? ???? ??? ? ???????? «??? ??????» ????? ?? ??? ?????? ?????? ??? ???) ??? ???? ?? ??? ?? ????? ??? ?? ????? ?????? ?????? ??? ??? ?? ?????? ?? ??? ??????? ??? ??????? ???????? ?????? ?? ?? ?? ??? ?????? ??? ?????? «??? ????» ???? ?? ?? ????? ? ??????? ?? ??????? ???? ?? ????? ????? ???? ?????? ?? ?? ???? ??? ?? «??? ????» ? ????? ?????? ??? ?? ???? ???? ?? ?????? ???? ???? ???? ????? ????? ??????? ???????? ???? ?? ???? ???? ????? ????? ?? ?????? ?? ?? ??? ?? ??? «?????» ????? ????? ? ?? ???? ? ??????? ???? ?????

??? ?? ???: (??? ???? ??? ????? ???? ??? ?? ??? «????»? ???? ?? ??? ??????? ??? ?? ?? ??? ?????? ???? ??????? ? ????? ???? ??? ?? ??? ????? ?? ???? ?? ??? ?????? ???? ?? ??????? ?? ?????? ?????? ???????? ????????? ????? ?????? ???? ? ???? ?? ???? ????? ???? ???? ?? ??? ?? ??? ?????? ???? ??? ??? ??: «????? ???? ?? ?? ???? ???? ? ????? ???? ????? ?????») ????? ??? ?? ???? 67?

????? ?????? ????? 22/07/1399???? ???????? 15/06/1400???? ???????? ?. ??????? J.L. Sutton666 1,083

“What could I say to you that would be of value, except that perhaps you seek too much, that as a result of your seeking you cannot find.”

Having read several other novels by Hesse (Siddharta, Demian, Narcissus & Goldmund and Knulp), the theme of a protagonist intellectually or culturally isolated from the rest of society is familiar. However, in Steppenwolf, the depths of our protagonistÂ’s (HarryÂ’s) despair separates him from other of HesseÂ’s protagonists and from humanity. His life isnÂ’t confirmed as valid or authentic. In fact, Harry doesnÂ’t see himself as fully human. Instead, he sees himself as half-human and half-wolf (Steppenwolf). He is ready to quit life, but is convinced that there is more to life than the way heÂ’d been living (or not really living it). In order to make this journey to a more fulfilling life, however, Harry must be willing to sacrifice the way heÂ’d previously seen himself and engage with life in a way heÂ’s never done. HarryÂ’s wild and interesting journey of self-discovery is tied to Hermine. As he regains a passion for life, she shows him that there is always hope. IÂ’ll let others decide whether the ending affirms or contradicts this. 189 s sologdin1,751 699

ly the dumbest Important Book that I've read.

Yeah, it's cool that the narrator thinks he's a werewolf, but is really just a recluse pseudo-academic--and then reads a manuscript that describes fake werewolves and outs them as poseurs.

Cool, also, that the preface, by the manuscript's fictional finder and publisher, records the impression that the horrors of the middle ages were non-existent: "A man of the Middle Ages would detest the whole mode of our present day life as something far more than horrible, far more than barbarous. [...] Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap" (22)--which strikes me as the rightwing way of describing the basic marxist principle that all that is solid melts into air.

Cool, further, that the book is written in the late 1920s and exposes all of the nasty jingoist, racist, reactionary bullshit that was the bizarre engine of history in the '30s and '40s--but written while Herr Beer Hall Putsch was banned from public speaking. It is therefore an oddly prescient volume when it describes respectable opinion in Germany as anti-semitic & anti-communist, as unwilling to blame itself for the world war, as loathing persons who express disapproval of the Kaiser and war-mongering, and so on (78-80). It manifestly names "the next holocaust" (117) as the fruits of same, joining R. Palme Dutt in making a horrible, horribly accurate prediction regarding German fascism.

Also presents an interesting attempt to read Goethe's Faust using the good doctor as a model for the Steppenwolf itself (60-63).

Nice moment of insult to the reader when the courtesan asks the narrator to explain what he had been reading, which was the Treatise on the Steppenwolf aforesaid: "Oh, Steppenwolf is magnificent! And are you the Steppenwolf? Is that meant for you?" (113) casting the reader of this volume into the role of the narrator fairly expressly.

Otherwise, though, I have the same reaction here as to Byron's Manfred, who also teeters at the edge of the precipice--my response: do us all a fucking favor and jump off the cliff on page 1; that way, we needn't read an entire volume of self-obsessed amphigory about suicide.

Doesn't help that the middle third of the volume is dominated by a bizarre love story involving several flappers/courtesans who pull the suicidal narrator away from the cliff by means of the terpsichorean arts (no shit!) as well as some hard fucking. The final third is dominated by drug-addled phantasmagoria, with silly appearances by Mozart and Goethe (though the science-fictiony war of man versus machines section is pregnant (180-90)).

Too much overt nietzschean influence. Too much use of the term bourgeois to refer to aesthetic matters, rather than economics. I can definitely see why all of the biggest English department douchebag undergraduates when I was at university wanted to write their BA thesis on this novel, nevermind that it's written in Deutsch, conceiving themselves as the steppenwolf rising above the herd, a true intellectual amid bourgeois banality, a proper aesthete among the declining arts of a spenglerian society, someone who really understands how shit is. It's a hipster manifesto, FFS.

Recommended for fake werewolves, bourgeois poseurs, and improbably named courtesans.

dilectio-sapientiae of-best-sentence-and-moost-solaas186 s Dave SchaafsmaAuthor 6 books31.8k

for madmen only

In league with Pessoa’s Book of Disquiet and Dostoevsky’s Raskolnikov, Hermann Hesse’s Steppenwolf is about a suicidal guy who never actually commits suicide, a tortured soul who struggles with the dualism of his nature, from the human to the wolf, from the classical to the romantic, to the spiritual to the sinful, from the life of the mind to the life of the body. I read this three times when I was 18-20, trying to understand it, trying to find elements that would help shape my personality, my image as budding/wannabe Artiste, in all my adolescent angst. “You were such a happy baby; what happened?” my mother said to me once during this brooding period, when I was reading everything from Dostoevsky to Rimbaud to Malcolm Lowry’s Under The Volcano and Camus and Sartre, and yes, every Hesse book I could get my hands on.

Steppenwolf was written by Hesse at middle age, looking back on his struggle between the coolly distant Germanic aesthetic and the more sensual Buddhism. In my late teens all the Christians I knew including me were reading Zen Buddhism, and Hesse helped us bridge the strict Calvinism we wanted to be free from and the East we found more attractive, less restrictive.

Harry Haller, writer and reader of many books, an intellectual, is contemplating suicide on his 50th birthday. Melancholy, dumped by his wife, he sees himself as a “wolf of the steppes,” half human, half wolf. He hates modern society. He’d rather read Goethe and listen to Mozart than go to a party and listen to modern jazz or make small talk. His nephew sees him as "a genius of suffering," which seems about right. He’s born to be wild, separate from society:

Steppenwolf’s “Born to be Wild”:

https://www.youtube.com/watch?v=egMWl...

A peddler gives Steppenwolf a pamphlet entitled, "Treatise on the Steppenwolf." He meets a woman, Hermione, in a bar; she mocks him for his self-obsession, and introduces the aging intellectual—through other women—to the life of the body, to dancing, to cocaine, to wine, to sex. The sensual. Meaning: women, basically. Men: Rational, the life of the mind. Women: Sensual, physical. There’s almost no dialogue in this book, but for certain, women mostly play a central role; they don’t talk much, the me do most of the talking, but they are a central shaping force.

Steppenwolf’s “Magic Carpet Ride”:

https://www.youtube.com/watch?v=HPE9a...

Steppenwolf visits a Magic Theater, which in the sixties might have been seen as a place for psychedelic experimentation because it is there that Harry experiences dreams and nightmares. Emerging out of this with Rosa, Harry ultimately finds he needs to lighten up! He needs to laugh, and enjoy life, and society. So thatÂ’s the heart of the book, Step embracing MozartÂ’s The Magic Flute and love of life, rejecting the suicidal isolation of GoetheÂ’s The Sorrows of Young Werther. Plato, Spinoza, and Nietzsche get referenced along the way, too. I guess it can be seen as a novelistic reflection on the divided self.

There’s not much of an actual story here. It’s an internal, philosophical/spiritual novel, which feels more allegory (and perhaps autobiography), to tell you how to stop brooding and embrace life. I can see in reading this why a man—in particular a man, because it was written by a man with men as his primary audience, I think—in his late teens or middle-age might embrace this. I d it less than I did when I was in my teens, but it surely has a kind of intense appeal. Oh, and my mom came to see I also got out of that brooding phase and lightened up, too.fiction-20th-century140 s Darwin8u1,638 8,814

“There are always a few such people who demand the utmost of life and yet cannot come to terms with its stupidity and crudeness.”
? Hermann Hesse, Steppenwolf



There is this bourgeoisie period in every man's life. A midpoint between birth and death where man is trapped alone. Unable to exist in the hot or cold of the absolutes he tries to find his way between the extremes in the comfortable center. Fearing life and death, he just |exists| ... barely. This is not a novel for the young. Just it is better to save King Lear for late(r) in one's life, it is better to save Steppenwolf for those crisis years of the midlife.

Hesse's novels seem to flirt between the edge of memoir, scripture, prose poem and Eastern philosophy tract. This isn't a book you want to read in a hot bath with scotch in one hand and a razor blade in the other. You will either spill your drink or spill your blood or lose every printed word; the hot water erasing pages and pickling your fingers, toes and time.1001-ante-mortem 2014131 s Henry Avila497 3,280

This book can be great or bad depending on your taste buds, silly or a stupendous trip in enlightenment , about that man of self- pity , Harry Haller maybe too educated for his own good . His hatred of himself would become tiresome to all those unlucky to know him. He dreams as Steppenwolf a creature of the steppes in Russia roaming alone never joining other wolves but living always as though the last animal with four legs on earth. As a human the feelings are the same , seeing but not living , preferring to die but a coward to do anything about this. Harry is 50 , a German between the wars when everyone enjoys the exciting 1920 's, Herr Haller only despises the world around... planning suicide , a rather pompous, conceited individual who enters taverns, cinemas, concerts watching people hating them, however envious. Meeting women who strangely the not attractive, depressive Harry , especially Hermine a pretty , young girl of rather dubious, (but very perceptive, a talented woman) with flaws in ...
shall we say her background in a bar ( tavern).She even teaches the shy man to dance and introduces her amusing friend , affable Maria. Pablo a seemingly shallow yet charming man that plays the saxophone will surprise later on. Dinners in restaurants, drinking , drugs and parties he begins to act others from the now remote but interesting age of the boisterous flapper, the crazy music of Jazz and anything goes, old traditions gone lost forever in the new
era, thinking of life not death yet still unsure of the future, will this last. A very influential novel which became quite popular in the counter culture of the 1960's. Nevertheless in the Magic Theater a place where nightmares and dreams are shown to the uneasy Harry by Pablo his mysterious friend where appears Mozart the laughing musician that tells Mr. Haller not to be such a wet blanket , is the best part of the entire fantasy...A odd novel for any .... some will discover what?125 s ???? ???? Fayez Ghazi Author 2 books4,392

- "??? ???????"? ????? ?? ???? ?????? ???????? ?????? ???? ????? ?????? ??? ?? ???? ??????? ???? ????? ??????? ??????? ???????? ?? ??? ??? ???? ?????? ??? ????? (????? ???? ??????)? ????? ???? ????? ????? ????? ?????? ???? ??????? ?? ???? ???? ?????? ?? ????? ?????? ??? ?????!

- ???? ????? ????? ??? ????? ?????? ????? ????? ????? ???? ????? ????? ??? ?? ????? ??????? ???? ?????? ?????? ????? ???? ??? ????? ???? ?????? ??????? ?????: ????? ??????? ????? ?????? ?????? ?????? ???? ??????? ????? ????? ????????? ??????? ?? ???????? ?????? ???????.. ??? ????? (????? ??????) ???????? ?? ??????? (????) ?? ???? ?????? ?? ?????? ?? ??????! ?? ???? ???????? ??? ????? ???? ???? ???? ??? ??????? ???? ????? ???? ????? ?????? ?? ??????? ??? ?????? ???? ????? ?? ????? ??? ????? ?? ?????? ??????? ???????? ??? ?????? (???????-?????) ??? ???? ??????? ?????? ???????? ???? ?? ???? ???? ?? ???? ??? ?????? ??????? ?? ????? ?????? ?? ????? (????????). ??? ??????? ???? ??? ?? ???? ????? ????? ????????? ??????? ?? ??????? ????? ??? ??? ????? ???? ???? ????? ?????? ??"????????" ???? ???? ?????? ?? ?????? ?????? ????? ??????? ?? ???????? ???? ??? ????? ?????? ???????? ?????? ??????? ??????? ????????? ???????? ??????? (???????) ???? ??? ??? ??? ?????? ?????? ?? ?????? ????? ?????? "????????" ????? ??? "?????" ??? ???? ???? ??? ????? ???? ?????? ??? ?? ??? ????? ????? ????? ????? ?????!
????? ?????? ?? ?????? ?????? ??? ?? ???? ???? ?? 10 ?????? ?? ??????? ???? ???? ???? ????? ??????? ???? ????? ?????? ?? ??????? ???? ???? ????? "????" ??? ????? ??????? ??? ???????? ??? ??? ????? ?????? ??????? ?? ???? ?? ?????? ???????? ??????? ??????? ??????? ????????? ???? ????? ?????? ?????? ??? ????? ????? ?? ????? "????" ???? ?????? ?????? ????? ?????? ?????? ???????? ?? ???? ?????.

- ?? ???? ????? ?? ???????? ???????! ????? ??? ?? ????? ???? ?? ????? ????? ??????? ??? ????? ????? ?????? ?????? ????? ???????? ??? ???? ?????? ????? ?????? ??? ???? ?? ???? ????? "????????" ???? ?????? ?????? ???? ??????? ??? -?? ????????- ???? ????? ??????? ?????? ??????? ????? ???? ??? ?? ??? ?????? ????? ??? ????? ?????? ??????? ??? ????? ??????? ????? ?????? ??????? ??????? ?????? ?? ?????? ?????? ?????? ?????????? ??????? ?? ???? ?????? ??????? ?? ??????? ??????? ???????? ??? ??? ?????? ??? ????? ?? ????? ??????? ??? ???? ??? ????? ????? ??????? ????? ??????? ????? ????? ??????? ?? ???? ??? ????? ??? ?? ?????? ????? ???? ?????? . ??? ???? ?? ??? ??? ??? ?????? ??? ?????? ( ?27"??? ??????? ?? ????? ????????? ?? ?? ?????? ?? ????? ??? ???????? ???????.") (?270:??? ??? ?????? ????? ?? ??????? ??? ??? ??? ????? ?????) ???? ???? ?? ??????? ????? ??? ??? ?????? ??????? ????? ????? ????? ???? ??? ??????!

- ?? ????????? ??? ??????? ?????? ???????? ?? ??????? ??????? "?????" "????????" ??? ??? ??????! ????? ????? ?????? ???????? ?????? ????? ?????? ??????? ??? ??? ??????? ????? ??? ????? ???????? ???? ??? ????? ?????? ?????? ??????? ?? ????? ???? ?? ???? ??? ????? ?? ???? ???? ??? ?? ??????? ???? ???? ?? ??? ?????? ???????? ????? ???? ????? ?? ??? ????? ???? (?????):?? ????? "????" ??? ??? ????! ??? ??? ??? ????? ?????? ???? ???? ?????? ???? ???? (??? ???? ?? ???) ??? ???? ??? ????? ?????? ?? ????? ????????? ?????? ??? ????? ?????? ????? ???? ????? ?? ??? ??? ???? ??? ?? ??? ??!

???? ??????????:
?20 "???? ?? ???? ???! ????? ??? ?? ???????!"

?27 "??? ??????? ?? ????? ????????? ?? ?? ?????? ?? ????? ??? ???????? ???????."

?51 "?? ?????? ???????. ??????? ???? ????? ??? ?????? ?? ???? ??????. ??? ???? ?????. ???? ?? ??? ???????! ????? ????? ?????? ????? ???? ???? ???????? ??????? ??? ???? ?????? ?????? ???? ???? ??? ?????? ?? ???????"

?61 "?? ???? ?????? ????????? ???? ???? ???? ?? ???? ?????? ????? ?????? ????? ???? ??????? ?????? ?????? ????? ??????"

?72 "????? ?? ????? ??????? ?????? ???????? ?? ?????????? ??????? ?????. ???? ????? ??? ????? ??? ?????? ?????? ????"

?80 "?? ??????? ??? ????? ?????? ???????... ??? ???? ??? ???? ????? ?????? ????????? ???? ???? ?? ??? ??? ???? ???? ?? ??? ?????? ??????"

?186 "???? ?????? ?? ???????? ????? ????. ??? ??????? ?? ???? ?????? ??? ???????."123 s Lisa1,066 3,311

Rereading is tricky business!

And if the author's name is Hermann Hesse, rereading is a hit or miss experience, all depending on whether you happen to be in that time-space-continuum where Hesse makes sense or not. I devoured his works in my twenties, only to drop them hot potatoes in my thirties, anachronistically blaming Hesse for being out of touch with the modern perception of the world as I knew it right then. So, now in my early forties, I seem to have swung back on that eternally moving pendulum of my literary taste, and I again devoured the Steppenwolf with wo(o)lfish appetite, greedy for each page.

And unsurprisingly, what struck me as of no interest a decade ago now seems to be a reality to suffer through again. When Harry Haller finds himself quoting Goethe's Faust and his "two souls", only to be told off by his modern female Mephisto Hermine that there are thousands of layers to each personality, and that Faust made an (excusable) oversimplification, I find myself nodding and smiling.

Or at least one of the many souls in my body finds comfort in that dilemma, while some other souls inside me cringe at the stupidity of being human in general. The dystopian dream landscapes of Pablo's theatre make a lot more sense to me now as well, as I see parallel lines in our confused lives - part virtual, part real - that we dedicate our time to nowadays, following links on the internet not un the prompts that lead Heller to different parts of the theatre, finally leading to a mock killing and a mock execution, that could of course also be real. Who knows? IRL or VR?

Then there is the political misery of 1927, with people partying away in jazz clubs and dance halls while the clownish machos in power prepare another war by appealing to the one-dimensional patriotism that seems to be a placebo for people who are afraid of the wolfish/intellectual soul duality/multiplicity and are looking for clarity in the labyrinth called human experience. What do you say to the novel written in 1927? Good luck? You might have been too pessimistic? Hardly. We all know what happened next, and that is where the relatability itself of Steppenwolf gets scary.

Very scary indeed!1001-books-to-read-before-you-die nobels124 s Agir(????)437 566

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Teach me to dance... will you?
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Did you say...dance
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?????? ???? ???? ?? ?? ?? ?? ??? ???? ??? ?? ??? ?????? ??? ?? ????? ????? ??? ?? ??? ? ???? ?? ??? ??? ? ?????? ??? ???? ? ??????? ?? ??? ??? ? ????? ?? ???? ?? ?????. ???? ??? ?? ???? ????? ?? ?? ?????? ??? ?? ?? ??? ????- ???? ????? ??? ???? ??? ??? ????? ?????? ?? ?? ??? ????? ??? ?? ?? ??? ??? ? ?? ??? ????? ???- ???? ?? ?? ?? ?????? ?? ?? ??? ? ???? ??? ???? ?? ????? ????? ?????? ?? ?? ?? ???? ? ?? ???? 116 s Guille841 2,183


Lo leí y lo disfruté en su día y lo leo y también lo disfruto hoy aunque de forma bien distinta y mucho más moderada, como aquel que todavía es capaz de alegrarse con la Navidad aun sabiendo que estos pocos días no son más que un mágico cuento para niños. Y traigo a colación la navidad pues su cercanía seguramente me ha condicionado para ver en «El lobo estepario» una versión adulta del famoso cuento de navidad de Dickens y en Harry Haller a un atormentado Sr. Scrooge, un misántropo elitista encerrado en su celda y dedicado a manosear sus monedas de oro, su soledad, su independencia, su amado Mozart y su admirado Goethe, esas raras individualidades con las que desea compartir la inmortalidad, pese al tormento y al renunciamiento que tal camino exige. Las visiones fantasmagóricas del pasado y del futuro del famoso cuento se tornan aquí en las posibilidades del presente que le mostrarán la enigmática Armanda, la deliciosa María y el lindo y musical Pablo.
“… era Armanda como la vida misma: siempre momento… Y lo mismo da que fuese todo ello alta sabiduría o sencillísima candidez. Quien sabía vivir de esta manera el momento, quien vivía de este modo tan actual y sabía estimar tan cuidadosa y amablemente toda flor pequeña del camino, todo minúsculo valor sin importancia del instante, éste estaba por encima de todo y no le importaba nada la vida…. se entregaba sencillamente al momento de tal suerte, que estaba abierta por entero, lo mismo que a toda ocurrencia placentera, también a todo fugitivo y negro horror de lejanas profundidades del alma y lo gustaba hasta el fin.” La novela, de estilo directo y sencillo, es simbólica y filosófica, un recipiente dónde Hermann Hesse encarnado en Harry Heller vierte sus achaques morales y vitales para quemar a fuego lento sus contradicciones.

La primera de ellas y la más importante es su desatinada fe en el hombre para manejar su personalidad, esa en la que Harry Heller se siente encarcelado y cuya composición el autor simboliza en el manejo de unas figuras que representan los muchos yoes de Harry.
“Al que ha experimentado la descomposición de su yo le enseñamos que los trozos pueden acoplarse siempre en el orden que se quiera, y que con ellos se logra una ilimitada diversidad del juego de la vida.” Porque una cosa tiene clara Hess, “sin amor de la propia persona es imposible el amor al prójimo”, y, por tanto, ese debe ser el objetivo, quererse a sí mismo, estar conforme con quién la fortuna ha dispuesto que seamos.

No obstante, esa fe en la plasticidad del alma humana no es más que un deseo cuya realidad el autor sabe, estoy seguro, improbable. Hermann Hesse…perdón, Harry Heller no se gusta, no le gusta su soberbia, su misantropía, su ensimismamiento, pero al mismo tiempo está orgulloso del lobo estepario que lleva dentro; se jacta de ser un hombre que ha pensado más que otros hombres y, sin embargo, asegura que “el que hace del pensar lo principal… ha confundido la tierra con el agua, y un día u otro se ahogará”; querría ser admirado como hombre distinguido e inteligente, pero no quiere dejar atrás lo espontáneo, lo salvaje, lo indómito, lo peligroso y violento; se debate entre la idea “de que acaso toda la vida humana no sea sino un tremendo error, un aborto violento y desgraciado de la madre universal”, por un lado, y la de que el hombre es “un hijo de los dioses y destinado a la inmortalidad”, por el otro; ama su soledad y su independencia, del mismo modo que las odia por ser su condenación; se siente llamado hacia lo absoluto y, sin embargo, no pueden vivir en él; pretende seguir el tortuoso y tormentoso camino de los inmortales, pero su espíritu burgués lo aleja del sufrimiento que ello conlleva; cree que el único camino a la felicidad es la “anulación de la dolorosa individualidad” y al mismo tiempo quiere ser alguien cuya muerte signifique algo para alguna persona; su inclinación a saber y comprender chocan con su ansia de “vida, decisión, sacudimiento e impulso”; se complace en el “olor de quietud, orden, limpieza, decencia y domesticidad” y sin embargo odia al burgués postrado al dios de la mediocridad; quiere la paz interior y la tranquilidad de espíritu pero reniega de la autosatisfacción, “el cuidado optimismo del burgués, ésta bien alimentada y próspera disciplina de todo lo mediocre, normal y corriente”.
“Es verdad que este inteligente e interesante señor Haller había predicado buen sentido y fraternidad humana, había protestado contra la barbarie de la guerra, pero durante la guerra no se había dejado poner junto a una tapia y fusilar, como hubiera sido la consecuencia apropiada de su ideología, sino que había encontrado alguna clase de acomodo, un acomodo naturalmente muy digno y muy noble, pero de todas formas, un compromiso. Era, además, enemigo de todo poder y explotación, pero guardaba en el Banco varios valores de empresas industriales, cuyos intereses iba consumiendo sin remordimientos de conciencia. Y así pasaba con todo. Ciertamente que Harry Haller se había disfrazado en forma maravillosa de idealista y despreciador del mundo, de anacoreta lastimero y de iracundo profeta, pero en el fondo era un burgués…” Reconciliar estos opuestos se presenta ante él como la solución a todos sus problemas existenciales. La solución que propone el mismo autor, vuelvo a estar seguro, no termina de creérsela, al fin y al cabo, además de que sigue sin estar exenta de contradicciones, no deja de ser un escapismo de igual calibre que el que promete la religión del burgués.
“Vivir en el mundo, como si no fuera el mundo, respetar la ley y al propio tiempo estar por encima de ella, poseer, «como si no se poseyera», renunciar, como si no se tratara de una renunciación” Propone ser fiel a lo que se es, como lo son los animales, las flores las estrellas en el cielo, aunque no nos diga como lidiar con el ser que somos y que aborrecemos. Propone no abandonar la lucha aunque se sepa que esta es estéril. Propone creer firmemente en esa eternidad, ese “reino de lo puro”, “lo que está fuera del tiempo, el mundo del valor imperecedero, de la sustancia divina” al que se podrá acceder aunque no se llegue a la genialidad de un Mozart, basta con un noble actuar, con la pureza de sentimiento.
“Es el reino más allá del tiempo y de la apariencia. Allá pertenecemos nosotros, allí está nuestra patria, hacia ella tiende nuestro corazón, lobo estepario, y por eso anhelamos la muerte. Allí volverás a encontrar a tu Goethe y a tu Novalis y a Mozart… Hay muchos santos que en un principio fueron graves pecadores; también el pecado puede ser un camino para la santidad, el pecado y el vicio” En fin, propone “acostumbrarse a la vida y aprender a reír”, “venerar el espíritu que lleva dentro y reírse de la demás murga”. Nada más fácil, ¿no creen?


P.S. Hay cosas que no recordaba, cosas bastante perturbadoras que no sé bien cómo interpretar:
“El burgués es consiguientemente por naturaleza una criatura de débil impulso vital, miedoso, temiendo la entrega de sí mismo, fácil de gobernar. Por eso ha sustituido el poder por el régimen de mayorías, la fuerza por la ley, la responsabilidad por el sistema de votación.”

“Obedecer es como comer y beber. El que se pasa mucho tiempo prescindiendo de ello, a ése ya no le importa nada.” Lo que sí queda claro es que el autor era partidario de la ingesta de sustancias susceptibles de abrir la mente a otras dimensiones, como si para encontrar la verdad no hubiera otra forma que estar intoxicado o quizás soñar. Tan claro como la consideración en la que tenía a las mujeres: si para Harry el objetivo era ser un Mozart o un Goethe, para Armanda, hija del diablo como él, la mayor ambición sería “ser la mujer de un rey, la querida de un revolucionario, la hermana de un genio, la madre de un mártir”.123 s9 comments Jenn(ifer)184 960

Um. What the? What?

What the hell did I just read?

First third, BRILLIANT -- one of the most interesting bits of philosophical fiction I've ever read. Seriously. I was completely enthralled. Second third -- hard to believe that two people would ever actually have conversations such as these, but still engaging. Third third -- what the F*CK? No, really, what the f*ck? It was some sort of crazy funhouse reality blurring, whacked out Kubrick film. I don't know if I d it or I hated it. My brain is still in knots.

So -- uh -- while I try to disentangle my axons -- I'll leave you with a song: http://www.youtube.com/watch?v=EEEzbF...

****

The more I allow this to sink in, the more I it. I think I need to consider seriously revising my review. At any rate, I'm giving it an extra star.dark nobel-laureates read-in-2012 ...more116 s Fernando700 1,095

"¡Ah, es difícil encontrar esa huella de Dios en medio de esta vida que llevamos, en medio de este siglo tan contentadizo, tan burgués, tan falto de espiritualidad, a la vista de estas arquitecturas, de estos negocios, de esta política, de estos hombres!
Cómo no había de ser yo un lobo estepario y un pobre anacoreta en medio de un mundo, ninguno de cuyos fines comparto, ninguno de cuyos placeres me llama la atención?"

Qué bien que escribe Hermann Hesse...
Hay algo en los escritores alemanes que supera a muchos de otros países. Son dueños de una narrativa bella, contundente... casi perfecta.
Me sucede lo mismo cuando leo al padre de la literatura alemana, Goethe, o al enorme y maravilloso Thomas Mann, (cuyo estilo me recuerda mucho a Hesse), a Schiller o E.T.A. Hoffmann. Dueños de una prosa incomparable, saben cómo atraer al lector para no dejarlo escapar.
Algo similar sucede con los escritores franceses que los distingue del resto, pero debo decir que Alemania prevalece sobre el resto. Hasta Franz Kafka siendo checo decidió escribir en alemán y Jorge Luis Borges decidió aprender alemán como autodidacta para leer a Goethe en su idioma original.
En este libro, Herman Hesse nos sumerge en el mundo especial de su lobo estepario, Harry Haller que no casualmente posee las mismas iniciales, ya que la novela está impregnada de sus propias experiencias, es notablemente biográfica y refleja sus problemas y su lucha contra la depresión y el suicidio.
El libro no está dividido por capítulos sino que cuenta con partes bien diferenciadas.
Una introducción, en la que un desconocido narrador nos dan las nociones básicas introductorias acerca de este personaje tan peculiar llamado Harry Haller, quien se autodenomina un "lobo estepario", a quien conoció ya mayor viviendo en la pensión de su tía.
Luego las anotaciones de Harry Haller conocidas como "Sólo para locos" en las que encontramos unas primeras impresiones y experiencias vividas y en la que nos adentraremos dentro de su propia pqsiquis, conoceremos cómo piensa este solitario cinquentón que decidió abrazar su vida al peregrinaje urbano y la soledad.
Después, nos encontramos con un descriptivo apartado llamado el "Tractat del lobo estepario (no para cualquiera)" en el que el autor ahonda nuevamente dentro de la personalidad de Haller, haciendo hincapié tanto en su visión de la burguesía no como crítica sino como diferenciación del estilo de vida del personajes y de otras cuestiones ligadas especialmente al suicidio y a la dualidad que convive dentro de Haller, dualidad en la que muchos encontrarán rastros de "bipolaridad" con una carga de "crisis existencial".
Esa dualidad está orientada a la cuestión fáustica planteada por Goethe en su novela "Fausto" y que en Harry Haller tiene además la particularidad de romperse como un espejo en muchos fragmentos más que lo llevan a replantearse su vida en todas sus etapas pasadas, la presente e incluso el futuro.
La disertación del autor sobre Haller va mucho más allá. Es mucho más profunda y encara puntualmente en la introspección psicológica del personaje preparando al lector a lo que va a venir: la narración propiamente dicha de las vivencias de Haller y su enfrentamiento a los escollos de la vida y las posibles consecuencia que le traigan sus acciones.
El vacío existencial que sufre a principios de la novela y el tormento del suicidio le atraen casi de la misma forma que a otro personaje conflictuado: el de Kirilov en la novela "Los demonios" de Fiódor Dostoievski, con la diferencia de que Haller no sucumbe sino que lucha por salir del pozo y lo logra desde el momento en el que conoce a otros personajes clave de la novela como lo serán Hermine, María y Pablo.
Las ácidas conclusiones de hombre del subsuelo que lo aquejan comienzan a transformarse en la esperanza de que se puede vivir sin tanto complejo y de esta manera, Haller comienza a experimentar ciertos placeres solamente reservados a esa burguesía que tanto critica.
Tanto deambular hace que se suceda el (no tan) fortuito encuentro con Hermine (o Armanda según la traducción que uno lea) en el bar "El águila negra" y a partir de este evento todo cambiará incluso para bien.
Hermine le dará la posibilidad de acercarse a otras experiencias placenteras, especialmente la del baile, algo impensado tanto para Harry como para nosotros los lectores, por lo que veníamos leyendo sobre él.
Armanda y el baile (cuando no, una mujer para "despertarnos" y ponernos en la buena senda) le aportarán luz a su vida y a partir de que conoce a otra hermosa mujer llamada María ahondará en los placeres de la sensualidad y el sexo, saliendo de ese letargo que lo aprisionaba.
Adentrándonos en el último tercio de la novela, Harry concurrirá a un baile de máscaras y de buenas a primeras, gracias a su amigo, el saxofonista Pablo, durante ese evento en el que el autor detalla con lo mejor de la carnavalización rabelesiana, se introducirá en una especie de noche de Walpurgis en la que Hesse homenajea nuevamente al "Fausto" de Goethe tal como lo hiciera Mijaíl Bulgákov en ese capítulo de "El maestro y Margarita" en el que Voland invita a Margarita disfrutar su propia noche de gala.
Y de ahí y casualmente como por arte de magia, Pablo le dará la posibilidad de conocer a su "Teatro mágico -sólo para locos-" en donde la entrada "solo cuesta la razón" y no es para cualquiera.
Aquí ingresaremos, a la parte más surrealista de la novela, una especie de sucursal del país de las maravillas de Alicia, ya que en este teatro en forma de herradura, Harry se encontrará con muchas puertas en un extremo y espejos en el otro y cada una de ellas lo llevará a una experiencia que metafóricamente hablando, lo colocarán en distintas etapas de su vida para experimentarlas nuevamente como si fuera un auténtico sueño delirante y kafkiano, absurdo y onírico. Así es: un auténtico ensamble kafkiano.
Esta es la parte más entretenida y alucinada del libro. Ya hace mucho que Harry no es ese lobo huraño y recalcitrante sino un hombre entregado a las pasiones, delirios y desenfrenos del espíritu.
El final es completamente distinto a lo que leímos al principio, pero tiene mucho que ver tanto con Harry Haller como con Herman Hesse.
Había leído este libro hace siete años y debo reconocer que disfruté muchísimo de esta novela "no tan sólo para locos" que me permitió reafirmar la grandeza de este gran escritor que se llamó Hermann Hesse.favorites123 s Magrat Ajostiernos634 4,273

****Primera lectura del año del club Pickwick: www.instagram.com/clubpickwick/)****
Esta es una lectura que necesito dejar reposar.
El lobo estepario es una novela cargada hasta tal punto de simbolismos, metáforas y reflexiones existencialistas que creo que pide un tiempo para ser digerida.
Dicho esto, me ha gustado, la lectura para mi ha sido un poco de montaña rusa, con una parte inicial que me encantó, una central que me resultó densa y un desenlace completamente de locura (nunca mejor dicho).
Lo más interesante de todo para mi es ese fuerte componente antibelicista y cómo Hesse transmite tan bien su incapacidad para integrarse en la sociedad. No se le puede negar además, lo original y moderno que debió resultar para el momento de su publicación.
Aún así a veces el mensaje me resultaba demasiado obvio y otros incomprensible.... lo dicho, es una obra hecha para dejar al lector reflexionando, y eso Hesse lo logra completamente.
2020 clásicos-modernos100 s Luís2,092 880

The Steppe Wolf is a novel by German writer Hermann Hesse. The author is a pacifist and a great humanist. The book was published in 1927. Although this novel was published at the beginning of the 20th Century, it has kept all its freshness and brilliance. This work is a robust, powerful, and dense book. A preface precedes this novel by the publisher, where he explains how he came into possession of the manuscript. The main protagonist of the story is Harry Haller. He is in his fifties and lives alone because his wife left him. He has an extraordinary intelligence quotient: IQ. He's an introvert. He avoids his peers and only goes out at nightfall to roam the city. He s to read philosophy books, listen to classical music, and love poetry. He runs away from people, so he gives himself the nickname of Steppe Wolf. He has suicidal impulses because he sometimes thinks about suicide. One evening, afraid of taking action, he enters a tavern. There, he meets a bubbly young woman, Hermine. The latter, taking life on the bright side, becomes attached to him and leads him to dance, drink, and live his fellows. With the meeting with Hermine, Harry became another. He must reconcile the two sides: the animal part in us and the spiritual domain. The Steppe Wolf: A masterpiece!2022-readings e-5 german-literature ...more95 s Peter McEllhenney2 4

Now that IÂ’ve reached middle age, I thought it was time to revisit that classic of earnest adolescent angst (despite the fact the novelÂ’s hero is nearly 50 years old), Hermann HesseÂ’ Steppenwolf.

I found the early sections of the book dull, flat, pretentious, and swimming in its own vanity. But the later sections corrected some of these faults, and made the book interesting and worth reading overall.

My main problem with the early parts of Steppenwolf is that the novel is constantly tells us how fine a soul Harry Haller has: how intelligent he is, how spiritually enlightened, how artistically refined, how little he can tolerate the world of power and money and order and easy pleasures, or understand the lives of ordinary people, and how much he suffers.

But the novel is always telling us these things about Harry; it never shows us these qualities or convinces us that they are true. Harry’s uniqueness is described first in an introduction to the manuscript written by a middle class businessman of slight acquaintance with Harry; then by passages written by Harry himself; then in a magical “Treatise on the Steppenwolf” that Harry buys from a mysterious vendor.

Normally, one piece of sustained exposition is enough to set up a story the author can’t quite get going on its own. Three is too much. And the constant repetition of how exceptional Harry is makes me suspicious. Accomplished people go about the business of being accomplished. People who are not accomplished – but very much the idea of being so – will announce their exceptional attributes constantly, substituting pronouncements for action.

The novelÂ’s investment in HarryÂ’s extraordinary qualities makes me believe that Hesse is also invested in them and that he is inviting us to invest in them as well. Only a great artist could bring a great artist alive on the page, is the implication: therefore I am a great artist. Only a truly intelligent and perceptive reader could understand a great artist; therefore you are an intelligent and perceptive reader.

This mutual admiration society constructed by Steppenwolf would be harmless enough if such vanity were not the most deadly enemy of art. All that is strange and delicate and inexpressible and irreducible in art – all its sublime alchemy – is thrown under the feet of flattery and easy compliment. The work exists only to puff up the ego and ambitions, and comfort the insecurities, of those associated with it.

This is harsh criticism, and it seems it should be a fatal one. But as the book progresses, Hesse’ destroys any sense we have that all of Harry’s accomplishments have any real value. The book still sees him as a unique and rare soul – but a unique and rare soul leading a useless existence, a man who has forgotten how to laugh, who has forgotten how to find pleasure in life, who is a fool, a baby, and a wretch who should be pity and scolded and taken by the hand and pulled away from his stubborn loneliness and self-importance. This humanizes Harry and gives the book blood.

Finally, Steppenwolf has an interesting structure. It’s a mess, but it’s a mess that works pretty well with the novel’s themes and characters. Harry is always talking about great composers, Baroque ones Handel, Mozart above all, but it is Berlioz' “Symphonie fantastique” that really is playing throughout the book.

So two solid stars for HesseÂ’ Steppenwolf. You could spend you time with many books, and many writers, far worse than this one.


80 s1 comment Ian "Marvin" Graye907 2,427

Half Bourgeois/Half Wolf

"Steppenwolf" starts with a fascinating 20 page preface that places a more conventional perspective on the rest of the novel (which is quite radical, if not exactly nihilist).

The unnamed first person narrator could be one of us. He purports to be "a middle class man, living a regular life, fond of work and punctuality, [as well as] an abstainer and non-smoker."

He gets to know the Steppenwolf, Harry Haller, while they both rent furnished rooms in his aunt's apartment.

He finds Harry and his behaviour foreign, alien, peculiar and odd.

Harry is "a real wolf of the Steppes, a strange, wild, shy - very shy - being from another world than mine [the narrator's]...a wolf of the Steppes that had lost its way and strayed into the towns and the life of the herd, a more striking image could not be found for his shy loneliness, his savagery, his restlessness, his homesickness, his homelessness."

The Torturous Riddle

The narrator sees a resemblance to Nietzsche:

"Haller belongs to those who have been caught between two ages, who are outside of all security and simple acquiescence. He belongs to those whose fate it is to live the whole riddle of human destiny heightened to the pitch of a personal torture, a personal hell."

Harry vanishes amidst rumours that he has committed suicide. All that remains is a manuscript found by the narrator, who decides to publish it, "as a document of the times...the sickness of the times themselves", in case it guides those who succeed him.

There is little clue as to whether the manuscript is fact or fiction, apart perhaps from the fact that occasionally during the preface Harry is visited by a "young and very pretty woman". Initially, I wondered whether she might have been his daughter. However, it's possible that she might have been "Maria", one of the women mentioned in the manuscript.

No Balance Between the Mean and the Magic

Early in the manuscript, Harry meets a man carrying a sign advertising an "anarchist evening entertainment" at the Magic Theatre. He gives Harry a booklet called "Treatise on the Steppenwolf". The protagonist happens to be called Harry Haller.

If Harry is the alter ego of the narrator of the preface, the protagonist of the manuscript is the mirror image of Harry (mirrors, both whole and splintered, abound in the novel).

Harry believes he is a "mixed being", he has "two natures, a human and a wolfish one" (the former of which is "the very same average man of bourgeois convention", the latter of which is "the free, the savage, the untameable, the dangerous and strong").

Harry stands outside the conventional world of the bourgeoisie, remote from "the search for a balance...the striving after a mean between the countless extremes and opposites that arise in human conduct...

"A man cannot live intensely except at the cost of the self. Now the bourgeois treasures nothing more highly than the self...The bourgeois is consequently by nature of weak impulses, anxious, fearful of giving himself away and easy to rule. Therefore, he has substituted majority for power, law for force, and the polling booth for responsibility."

Harry is unable or unwilling to find such a balance. The extremes and opposites live in perpetual conflict:

"In him, the man and the wolf did not go the same way together, but were in continual and deadly enmity. One existed simply and solely to harm the other, and when there are two in the one blood and in one soul who are at deadly enmity, then life fares ill."



"Steppenwolf" exhibition in Calw Hesse Museum

The Delusion of Dualistic Unity

Harry's understanding of himself contains an error or delusion that is shared by the bourgeoisie.

Harry thinks of himself as wolf and man, flesh and spirit, either way, a dualism.

He finds in himself "a human being, that is to say, a world of thoughts and feelings, of culture and tamed or sublimated nature, and besides this he finds within himself also a wolf, that is to say, a dark world of instinct, of savagery and cruelty, of unsublimated or raw nature."

The bourgeois worldview reflects a belief that humanity is a unity that endeavours to accommodate, if not resolve or reconcile, opposites or dualities.

In contrast, man is actually a bundle of selves, "a manifold world, a constellated heaven, a chaos of forms, of states and stages, of inheritances and potentialities... man is an onion made up of a hundred integuments, a texture made up of many threads."

An End to Detested Existence

The internal enmity exposes the Steppenwolf to a particular risk:

"The line of fate in the case of these men is marked by the belief...that suicide is their most probable manner of death."

Harry recognises that:

"Death was decreed for this Steppenwolf. He must with his own hand make an end of his detested existence - unless, molten in the fire of a renewed self-knowledge, he underwent a change and passed over to a self, new and undisguised."

The Invisible Magician

This is the real story of Steppenwolf: how he acquires new or renewed self-knowledge:

"I had already experienced it several times, and always in periods of utmost despair. On each occasion of this terribly uprooting experience, my self, as it then was, was shattered to fragments. Each time deep-seated powers had shaken and destroyed it; each time there had followed the loss of a cherished and particularly beloved part of my life that was true to me no more...

"It was then that my solitude had its beginning. I had built up the ideal of a new life, inspired by asceticism of the intellect. I had attained a certain serenity and elevation of life once more, submitting to the practice of abstract thought and to a rule of austere meditation. But this mold, too, was broken and lost at one blow all its exalted and noble intent."

It's within this context that Harry finds and reads the treatise:

"I read the Steppenwolf treatise through again many times, now submitting gratefully to an invisible magician because of his wise conduct of my destiny, now with scorn and contempt for its futility, and the little understanding it showed of my actual disposition and predicament."



Corresponding Through the Looking Glass

Harry's mind inevitably returns to the Magic Theatre:

"I understood the invitation to madness and the jettison of reason and the escape from the clogs of convention in surrender to the unbridled surge of spirit and fantasy."

In his quest to find the next show, he is advised to go to a club called the Black Eagle. Here he meets the first of two women who will help change his life.

She reminds Harry of his first girlfriend, Rosa. Equally, he thinks she looks a boyhood friend, Herman. He guesses that her name is Hermine. It is. How could this happen? Hermine explains:

"Doesn't your learning reveal to you that the reason why I please you and mean so much to you is because I am a kind of looking glass for you, because there's something in me that answers you and understands you? Really, we ought all to be such looking glasses to each other and answer and correspond to each other..."

Harry responds, "There's nothing you don't know, Hermine. It's exactly as you say. And yet you're so entirely different from me. Why, you're my opposite. You have all that I lack."

She is his other half (in a Platonic sense). She might even be the feminine side of the one person, Harry Haller. Equally, Harry and Hermine might be the two halves of Hermann Hesse himself. H&H = H.H. = ha ha! Does it mean this is all a joke? Of course, now we must also ask whether J.K. Rowling named her two main characters after those in "Steppenwolf"!

Teacher-Woman and Courtesan

On their second outing, Harry and Hermine go dancing at the Balance Hotel, which features a small orchestra. Here, Harry meets the second woman, Maria, a friend of Hermine's, with whom he dances and quickly forms a relationship.

Later, on an evening walk alone, Harry intellectualises about the significance of music in his life:

"In the German spirit the matriarchal link with nature rules in the form of the hegemony of music to an extent unknown in any other people. We intellectuals, instead of fighting against this tendency men, and rendering obedience to the spirit, Logos, the Word, and gaining a hearing for it, are all dreaming of a speech without words that utters the inexpressible and gives form to the formless.

"Instead of playing his part as truly and honestly as he could, the German intellectual has constantly rebelled against the word and against reason and courted music. And so the German spirit, carousing in music, in wonderful creations of sound, and wonderful beauties of feeling and mood that were never pressed home to reality, has left the greater part of its intellectual gifts to decay. None of us intellectuals is at home in reality. We are strange to it and hostile...There was nothing to be made of us intellectuals. We were a superfluous, irresponsible lot of talented chatterboxes for whom reality had no meaning."

The masculine seems to be Logos, the Word, Logic, Reality, whereas the feminine seems to be Music, the Imagination, Fantasy, Unreality.

Earlier, in language that recalled Heidegger, Harry writes:

"When you listen to radio [music], you are a witness of the everlasting war between idea and appearance, between time and eternity, between the human and the divine."

Both "Steppenwolf" and "Being and Time" were first published in 1927! 11 years after Einstein's "Relativity: The Special and General Theory".

When Harry returns home, he finds Maria waiting naked in his bed, which understandably distracts him from his preoccupation with "The German Ideology". At times, it can be difficult to tell reality and fantasy apart!

Harry's recovery is effectively triggered by two women. To paraphrase Hesse's biographer, Ralph Freedman, one is a "wise teacher-woman", the other a "courtesan".

A Pretty Cabinet of Pictures

The climax of the novel occurs in the Magic Theatre (after an evening at the Masked Ball), which for me created memories that have survived over 40 years since my first reading. The only fictitious scene I can n to it is the ball in "The Master and Margarita".

Just as the personality has manifold aspects, the Magic Theatre "has as many doors into as many boxes as you please, ten or a hundred or a thousand, and behind each door exactly what you seek awaits you. It is a pretty cabinet of pictures..."

Harry must laugh in a mirror, so that the image of his mixed being, human and wolf, can disappear and he can enter "our visionary world...(and a jolly one it is)":

"True humour begins when a man ceases to take himself too seriously...You will learn to laugh the immortals yet!"

Here, his saxophone playing host, Pablo (who doubles as Mozart), teaches him the art of "building up the soul":

"We demonstrate to anyone whose soul has fallen to pieces that he can rearrange these pieces of a previous self in what order he pleases, and so attain to an endless multiplicity of moves in the game of life."

Nothing But a Lover

Harry seeks out love's door. Until now, he has repressed his capacity for love:

"I was living a bit of myself only - a bit that in my actual life and being had been expressed to a tenth or a thousandth part...I was watching it grow unmolested by any other part of me. It was not perturbed by the thinker, nor tortured by the Steppenwolf, nor dwarfed by the poet, the visionary or the moralist. No - I was nothing now but the lover, and I breathed no other happiness and no other suffering than love."

"The Devil, But You Shall Live!"

Ultimately, in the Magic Theatre, Harry's host teaches him, "You are willing to die, you coward, but not to live. The devil, but you shall live!"

Harry's response is to make a resolution:

"I knew that all the hundred thousand pieces of life's game were in my pocket. A glimpse of its meaning had stirred my reason and I was determined to begin the game afresh...I would traverse not once more, but often, the hell of my inner being...one day I would be better at the game. One day I would learn how to laugh."

"Steppenwolf" makes no promise that our inner being will not be hellish.

It does, however, encourage us to laugh and play the game of life. Its message is quite the opposite of the nihilism with which it is usually associated.

After more than 40 years, it remains one of my favourite novels, both stimulating and beautifully crafted.hesse re-read read-2015 ...more78 s Pedro Pacifico Book.ster338 3,661

A primeira leitura de 2021 já começou muito marcante para mim. Como comentei com vocês, fazia algum tempo que não me identificava tanto com um livro. Já era um grande fã de Hesse depois de ter lido “Sidarta” e “Knulp” e, depois de “O lobo da estepe”, talvez possa falar que o autor está no meu top 10 de escritores favoritos.

Nessa obra, Hesse apresenta ao leitor a história de Harry Haller, um homem na faixa dos 50 anos que vive crises existenciais, e é por meio dos diálogos internos do protagonista que o autor, influenciado pela psicanálise, traz reflexões interessantíssimas sobre a condição humana.

No começo da narrativa, nos deparamos com um Harry cansado da vida e que, constantemente, é acometido por pensamentos suicidas. Esse estado psicológico do personagem deixa o começo da leitura até mesmo mais parada_ talvez tenha sido algo intencional, a fim de refletir a melancolia de Harry_, mas um acontecimento pouco inusitado em sua vida coloca o personagem de frente com “O tratado do lobo da estepe” e com novas amizades que trarão uma vontade de viver a Harry. É a partir desse momento que a narrativa se desenrola de forma extraordinária!

Há, também, uma crítica constante à hipocrisia que recai muitas vezes sobre a classe burguesa. Isso porque o protagonista tece diversos comentários contra a burguesia, esquecendo, por sua vez, que ele mesmo se enquadra como uma luva nessa faixa social.

Achei interessante que, no posfácio da obra, o autor avisa que leitores mais próximos da meia idade tendem a se identificar ainda mais com os pensamentos do personagem. Se eu já me identifiquei muito, fiquei com vontade de fazer uma releitura daqui a 20 anos. Com certeza as reflexões serão diferentes e mais profundas! Recomendo muitíssimo!

Nota: 10/10

Leia mais resenhas em https://www.instagram.com/book.ster/75 s Perry632 576

The Best Novel on the Intellectual Male's Midlife Crisis

I might well have ridiculed this novel at 20, when I was unconquerable, infinite, the world my oyster. Thirty years on, having been through the process of disenchantment called life, and survived the tragic ends (de facto and de jure) of each chapter of my personal myth--the perfect job, a huge house, insane wealth, and adoration of both my looks and smarts--I find this novel profound.

Hermann Hesse wrote this in his late 40s and I can see parts of myself--now and in my recent past--in his fictional alter ego, Harry Haller, a self-isolated intellectual who thinks of himself as a steppenwolf (or a wolf from the steppes), experiencing an ongoing existential crisis, bouts of acute loneliness, fleeting thoughts of death, and a continuing coming to terms with a bourgeois society which he hates yet needs. I can see the wisdom of a life lived, in terms spiritual and at times--even still--animalistic.

I found fascinating the magic theatre to which Harry was invited, a place which serves as a reminder of why he should want to live, allowing him to experience encounters (not necessarily sexual) with females from his past, meetings with these unrequited loves or lusts in which he's no longer shy nor suffering the hangups and insecurities of a young man or boy.

Variations of this magical venue often pepper my dreams. Call them my subconscious yawps for immortality, or maybe, on a deeper level, my psyche's nocturnal pursuits of prurient propagation.

I highly recommend this novel to men in their 40s and 50s, and to their spouses/partners for possible enlightenment.mina-favoritböcker most-loved75 s Nikos Tsentemeidis416 264

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??? ??? ?? ????? ????, ???? ?? ??? ????????? ???? ??????? ??? ??????? ??? ?? ???? ??????????, ??? ???????? ??? ??????? ???? ?? ?????? ??? ??? ?????????

https://www.goodreads.com/review/show...favorite german-literature75 s Steven Godin2,570 2,761

Written at a time when his own life was in some disarray, while battling his inner demons through depression and being treated as an outcast because of anti-war/military views, it comes as no surprise to me that Hermann Hesse wrote 'Steppenwolf' more semi-autobiographical rather than a work of out and out fiction, but this only makes for a more heightened reading experience with elements of realism that keep things from falling into the realms of complete fantasy. So thus begins a mythical, philosophical and spiritual journey into the darkest corners of a diseased mind, where dreams and reality collide, and the opposing forces of man and beast will ravage the living soul of our protagonist, the misanthropic Harry Haller, who on the surface would appear a well educated and reasonably normal being, but beneath lurks a disturbed and troubled man who is repulsed and alienated from modern society. Rather misunderstood at the time of publication this would go on to find a wider audience and become a cult hit with the youth of the 1960's, probably because of the hallucinogenic drug experimentation and open views on sex. As for the writing it's pretty much faultless, and it's here I have to mention David Horrocks, who has done an amazing job with this translation by using the original text to better effect after some not so reliable efforts in the past. This is surely one the greats of German literature, right from the start I knew a masterpiece was beckoning, truly quite something. This entire review has been hidden because of spoilers.Show full reviewclassic-literature existential germany ...more81 s Andrei Tama?447 319

Recomand acest roman tuturor celor care vor s? descopere infernul dinl?untrul lor.
Mi-am propus de foarte multe ori s? scriu o recenzie asupra romanului "Lupul de step?" de Hesse. M? obseda îns? ideea c? nu a? fi capabil, c? nu a? putea spune tot ce a? vrea s? spun, c? n-a? g?si cuvintele necesare pentru a descrie aceast? carte. Ie?ind din aura ei ?i scriind DESPRE ea, mi-e fric? de faptul c? o s?-i ciopâr?esc valoarea (nu sunt deloc un bun sculptor).
Poate cuvintele mele de mai sus nu înseamn? nimic pentru unii, poate mul?i nu-mi vor în?elege "frica". Ei, acest lucru este surprins ?i în roman...


"Lupul de step?" reprezint? lucrarea de c?p?tâi a condi?iei umane (varianta modern?). Dac? a? fi pus -cine ?tie cum!- s? numesc un titlu, a? spune f?r? ?ov?ire "În c?utarea sensului vie?ii" (?tiu, poate e deja luat...).


?tiu, de asemenea, c? numai aceia care s-au gândit m?car o singur? dat? la actul sinuciderii în sine vor în?elege pe deplin romanul.


Într-o nara?iune la persoana I, într-o Germanie bântuit? de criza economic? de dup? Marele R?zboi, într-un ora? destul de însemnat, un anume Harry Haller care umbl? din cârcium?-n cârcium? ?i care nu avea deloc probleme financiare (da, e unul dintre pu?inele romane bune în care banii nu joac? decât un rol protocolar), scriitor amator de versuri, d? nas în nas cu un str?in care "din gre?eal?" uit? o c?rticic? în mâna lui. Harry al nostru strig? dup? el, dar acesta m?re?te pasul. Buim?cit, începe a citi cartea... Acolo nu era altceva decât o "proz? psihologic?" (obiectiv? de data asta), o proz? al c?rei personaj principal nu este nimeni altul decât el însu?i. Problema care se ridic? (?i care se poate pune pe seama unei nevroze dat? de singur?tate, c?ci da, uitasem s? spun c? figura asta era "cel mai singur om de pe p?mânt") e aceea c? întâmplarea face ca nu numai numele s?u s? fie men?ionat acolo, ci ?i faptele ?i -mai grav!- gândurile, care nu sunt altceva decât ni?te electroni care plutesc în jurul nucleului: SINUCIDEREA!


Cartea e recomandat? de autor "numai pentru nebuni".


Apare ?i o femeie, o felin? numit? Hermina, o frumoas? nimfa care ni-l duce pe Harry în t?râmul viselor. Consumul de substan?e halucinante, cu prec?dere opium, î?i spune ?i el cuvântul..


Titlul este dat dup? identificarea lui Harry Haller cu o alt? latur? a sa, o latur? cu o con?tiin?? ?i cu idei proprii, întotdeauna împotriva s?rmanului Harry (cel care poveste?te).


Deja simt c? am omis un triliard de detalii... M? rog, de aceea am spus c? nu e deloc u?or s? cuprinzi cartea asta în câteva cuvinte; nu e o poveste simpl?, ci e una cu foarte multe substraturi deductibile.


Ceea ce conteaz? e c? Harry î?i g?se?te "drumul s?u". Dar, vai!, asta dup? atâtea ?i atâtea frânghii trecute prin fa?a ochilor s?i...


Nelipsitele fragmente subliniate (câteva, c?ci dac? a? fi subliniat cum a? fi f?cut-o de obicei, ar fi trebuit s? încep de la primul rând ?i s? termin la ultimul, f?când, deci, risip? de cerneal?):

1.Din acea "c?rticic?" primit? de Harry, o scriere care se refer? strict la el, el fiind obiectul de analiz? al unui psiholog: "Traiectoria destinului unor oameni de genul acesta se caracterizeaz? prin aceea c? sinuciderea reprezint? pentru ei, cel pu?in în propria lor închipuire, modalitatea cea mai plauzibil? de a muri. Premisa unei asemenea st?ri suflete?ti, remarcat? aproape întotdeauna înc? din fraged? tinere?e, starea care îi înso?e?te pe ace?ti oameni pe parcursul întregii lor vie?i, nu este defel o lips? de vitalitate, c?ci, dimpotriv?, printre "sinuciga?i" exist? ?i firi extraordinar de tenace, avide ?i îndr?zne?e."

2. "Cred c? lupta împotriva mor?ii, dorin?a necondi?ionat? ?i înc?p??ânat? de a tr?i este sursa din care s-au alimentat activitatea ?i via?a tuturor oamenilor ilu?tri."

3. "Seriozitatea, tinere, este o chestiune de timp; nu pot s?-?i dezv?lui decât c? ea provine dintr-o supraestimare a timpului."

4." Oare idealurile exist? pentru a fi realizate?"

5." Dar tot eternit??ii îi apar?ine ?i orice imagine a unei fapte adev?rate, puterea oric?rui sentiment adev?rat, chiar dac? nimeni n-o cunoa?te, chiar dac? nimeni n-o a?terne pe hârtie pentru a o transmite lumii de mai târziu."

6. Reg?sirea sinelui: "Într-o bun? zi voi juca mai bine acest joc cu figuri. Într-o bun? zi voi înv??a s? râd. M? a?teapt? Pablo. M? a?teapt? Mozart."

Andrei Tama?,
16 septembrie 2015favorites literatura-germana72 s ????? ????????????380 184

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