New York Review Books Classics

The Algerian War lasted from 1954 to 1962. It caused the fall of six French governments, led to the collapse of the Fourth Republic, and came close to provoking a civil war on French soil. More than a million Muslim Algerians died in the conflict, and as many European settlers were driven into exile. Above all, the war was marked by an unholy marriage of revolutionary terror and state torture. At the time, this brutal, intractable conflict seemed like a French affair. But from the perspective of half a century, it looks less like the last colonial war than the first postmodern one: a full-dress rehearsal for the amorphous struggle that convulsed the Balkans in the 1990s and that now ravages the Middle East, struggles in which religion, nationalism, imperialism, and terrorism assume unparalleled degrees of intensity.

A classic, controversial book exploring German culture and identity by the author of Death in Venice and The Magic Mountain, now back in print. When the Great War broke out in August 1914, Thomas Mann, like so many people on both sides of the conflict, was exhilarated. Finally, the era of decadence that he had anatomized in Death in Venice had come to an end; finally, there was a cause worth fighting and even dying for, or, at least when it came to Mann himself, writing about. Mann immediately picked up his pen to compose a paean to the German cause. Soon after, his elder brother and lifelong rival, the novelist Heinrich Mann, responded with a no less determined denunciation. Thomas took it as an unforgivable stab in the back. The bitter dispute between the brothers would swell into the strange, tortured, brilliant, sometimes perverse literary performance that is Reflections of a Nonpolitical Man, a book that Mann worked on and added to throughout the war and that bears an intimate relation to his postwar masterpiece The Magic Mountain. Wild and ungainly though Mann's reflections can be, they nonetheless constitute, as Mark Lilla demonstrates in a new introduction, a key meditation on the freedom of the artist and the distance between literature and politics.