Abstract
Thomas Mann’s famous novella “Death in Venice” is more than social critics or metaphor of artistic search for means. Its ambiguous poetry of forbidden longing offers a game we play ever since, a drama of strange, dreamlike romance unfolding itself in a highly troublesome atmosphere of ordinary life succumbing to the oncoming devastation and catastrophe of the outer world that inexplicably links with the wishes of a soul. This plot became a focus of ideas, a web of meanings covering more and more areas of mentality and imagination while living on. One of the latter writers rarely compared to Mann, a popular American author Stephen King, master of macabre fantasy, suddenly shows some extraordinary level of coincidence of his works’ throughout motives/invariants with those of the European classic. The answers both of them are chasing after lie in the mysterious character of the Whole of the world denying any isolate and solid sense, medium lands of affection and connection, Gordian knots of disastrous dialectics interweaving will and passivity, creation and destruction. Why dark fantasy (that King embodies) constantly insists on destroying, erasing the entire world for the sake of some bittersweet heroic pathos upon its ruin, as before Mann unleashes the epidemics to his story’s bourgeois backgrounds to celebrate the phantom love of his characters? Why does Beauty transgress the borders of subjectivity very much like Death does the borders of physicality, and they both lead us to the same revelation of some great apophatic quasi-Platonian chora at the core of our being where everything is born and we are all one?
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