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The novel’s story, briefly, though I suspect if you are interested in this novel you already know the outline: a young orphaned bourgeois German engineering student, Hans Castorp, intends to have a brief visit with his soldier cousin, Joachim Ziemssen, in the Berghof, an Alpine tuberculosis sanatorium administered by Dr. Hofrat Behrens. In the course of things, Hans is himself diagnosed with tuberculosis, and remains on the titular mountain for seven years, before leaving to fight in the Great War. During his stay in the Berghof, he begins a long study of science and human nature, partially presided over by the two pedagogues who compete for his allegiance, the Enlightenment humanist Lodovico Settembrini and the aforementioned anti-modern reactionary-revolutionary Leo Naphta. Perhaps more importantly, he is inducted into the mysteries of eros when he falls in love with Clavdia Chauchat, a Russian woman who reminds him of a youthful boy-crush with similarly Slavic origins; Clavdia stands for everything the Western European haute bourgeoisie has repressed: sex, femininity, queerness, and “the Orient.” The novel, in short, narrates the prying-open of Hans Castorp, the deconstruction of the ordinary Western bourgeois subject, a deconstruction in which the symbolically feverish young man genially acquiesces, as his rest-cure repose allows him an imaginative access to all reality. On the one hand, this apotheosis of the mind’s sovereignty is just what Hans calls it, “playing king.” On the other hand, what does the mind in its sovereignty learn? That life is a disease of matter, that man is a speck in the universe, that the heart beats in tiny fragility within the howling winds of uncaring nature. Mind in its sovereignty learns that mind is not sovereign.

That Hans goes back down the mountain to fight for Germany implies less a return to the normativity of what the Berghof residents somewhat contemptuously call the flatland and more the amor fati of the untimely artist intellectual. Krokowski, has by the end of the novel moved from Freud to Jung as Europe itself becomes progressively more irrational, and he is only too eager to enlist Elly in his psychical researches.

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Thomas Mann’s The Magic Mountain

I was a teenager—that is to say, pretty much an unsophisticated jerk—when I first read The Magic Mountain almost 50 years ago, in an undergraduate class taught by the iconoclastic theater director Herbert Blau. He had blasted us through two volumes of Proust’s Remembrance of Things Past in as many weeks, and now allowed us a week for Mann’s 720-page juggernaut. While Proust only lightly stuck, Mann’s majestic prose sucked me in like a downhill skier into a sudden blizzard.

The plot sounds deceptively simple. A young man named Hans Castorp goes up a mountain to visit a friend suffering from tuberculosis. There he is diagnosed with the same disease and winds up spending seven years in the same sanatorium. Gradually, he is drawn into the society of the sufferers, wonderfully drawn personalities, all of them: the ever-optimistic humanist Settembrini, the hunchbacked authoritarian Naphta, the erotically charged Madame Chauchat, the scientific Dr. Behrens, the loquacious Mynheer Peperkorn, a Dutch planter who emanates a charismatic cheeriness that causes people to hang on his every, half-coherent utterance. In short, the sanatorium’s inmates comprise a microcosm of Europe on the eve of the First World War, through which the impressionable young Castorp passes like Candide.

The Magic Mountain, published in 1924, is not a historical novel but a novel about history—about a time just past whose ramifications have yet to fully unfold. Mann chillingly foresaw the disintegrating faith in reason and the corresponding surrender to the irrational that only a few years later produced Adolf Hitler and caused Mann’s own books to be burned in Germany.

The Magic Mountain taught me that big ideas have vitality, that intellectual life could make for great storytelling, and that the map of an age could be found in the personalities of the people who lived it, lessons that I carried into the writing of history. But the truth is, I have returned again and again to The Magic Mountain because the characters who inhabit it are such delightful company. Hans Castorp finally, reluctantly, descended the mountain to disappear into the maelstrom of the First World War. Like him, I hate to come back down. Unlike him, however, I have the privilege of returning.

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Fergus M. Bordewich ’s most recent book is Congress at War: How Republican Reformers Fought the Civil War, Defied Lincoln, Ended Slavery, and Remade America.

Mann’s story, which unfolds over nearly 800 pages, is set in a sanatorium in Davos, in the Swiss Alps, modelled after an actual establishment where his wife went to recover from a lung disease. The protagonist of The Magic Mountain is a young man called Hans Castorp, who is visiting a cousin suffering from tuberculosis. As Hans steps inside the microcosm of the sanatorium, away from the bustle of his city life, he begins to lose his familiar bearings. Days turn into weeks, as he explores the surrounding landscape, having deep epiphanies and meeting a host of characters, each of whom has a unique view on life, art, politics and the future of Europe, which is still a decade away from World War II.

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nozama meaning