Confessions of Felix Krull, Confidence Man: The Early Years (Vintage International) [Englisch] [Taschenbuch]

Perhaps the problem is the ship's construction was never completed. Thomas Mann was clacking away at the typewriter just before his death at the age of 80, and more surprising than the fact that the novel remained unfinished is the fact that the narrative voice is that of a smug young man, a charlatan who has decided to regale us with a glib account of his early career.

Because of the necessarily episodic nature of such a fly-by-night career, the story resolves itself into a series of loosely-connected episodes.This is definitely fortunate as some of the episodes are of incomparable brilliance while others are heavy going. In a story with more unity this would have the effect of sinking the whole ship, but compartmentalized as they are, we are able to enjoy Mann's purple passages without too much reference to the episodes that don't work.

The episodes where Felix evades military service and the whole section where he recounts his Parisian days as elevator boy, jewel thief, dishwasher, and popular waiter at a top hotel, were particularly effective, showing Mann's deft touch for entwining character, psychology, and manners.

After these bright spots, most readers will probably feel the last third of the novel, mainly set in Lisbon, is wasted. Here we have a lot of cosmic gobbledygook from Professor Kuckuck and the tedious courtship of the Professor's daughter, Zouzou, who never advances beyond an abstraction of a surly, spoilt young lady. There is still the occasional speck of gold to be panned here in these muddy lower reaches, but the river has by now lost most of its sparkle.

Felix Krull is a "Con Man." This book recounts his early years, from early childhood, through his ingenious method of avoiding being drafted into the army, to his initial jobs. He avoids the army by appearing too eager to join, thus inducing suspicion regarding his mental stability. He works his way up by recognizing that having a good appearance and a willing attitude more than compensates for lack of experience or ability. Being a confidence man requires supreme self-confidence and Felix has that in abundance.

For me the pivotal scene is when Felix is taken to the theater by his father to see a play in which one of the father's old school chums is starring. Felix is captivated by the magnetic attraction between audience and star. This is made even greater by the back stage visit he and his father make after the show. The star turns out to be much shorter than he appeared to be, with reddish hair instead of black, and rough skin instead of the smooth skin he appeared to have. His manner is coarse, not like the refined character he portrayed. Topping it off, he is in need of continuous reassurance that he did a good job, whereas the character he played was supremely confident and poised. This is the key to Felix's realization that for most of the world illusion is reality, and that the illusionist needs the audience just as the audience needs the illusionist.

Whether Mann had a sequel planned is uncertain. We do leave Felix as a young man, wondering what his further adventures and potential growth might have been.

As it is, this is a delightful story with a profound subtext. Are there any people like Felix around today?

Felix Krull is a charmer from the earliest age, a knowing manipulator of his surroundings and even his own body, able to induce fevers by self-will to avoid the boredom of school and bemuse his family doctor into acquiescence. Blessed by astonishing beauty that affects all that come into contact with him and fuels an arrogance and self-confidence that probably would not be tolerated in someone of lesser grace, he is able to insinuate himself up the social ladder into the most rarefied social circles of aristocratic Europe. Through his own wit and the vanities and susceptibilities of his victims, he brazens his way through the most delicate situations.

While it is not necessary to have a familiarity with Mann's life and other works to enjoy this book, such knowledge will add greatly to the fun. There are many autobiographical references and self-caricatures dispersed amongst the characters who knowingly or unknowingly are seduced by the irrepressible Felix and some of the observations and feelings that Felix describes are most definitely those that Mann himself strongly felt.

Recurring motifs throughout Mann's works find expression here. Most striking is the identification of Felix with the Greek god Hermes, here in his aspect of god of thieves. Look back to Death in Venice and see how Mann uses the god Hermes in reference to Tadzio, especially at the end when Aschenbach lies dying and Tadzio as Hermes, the messenger of death, beckons in the waves. For who is Felix but a more grown, more self-aware Tadzio? But instead of death, Felix brings smiles. After all, as he is quick to point out "Felix" means "happy."