Pushkin Press just released the Collected Novellas of Stefan Zweig which includes the following titles:
A Chess Story
Journey into the Dark
Burning Secret is the story of a young boy who’s staying with his beautiful mother in an Austrian hotel in Semmering when their quiet, idyllic, and at times boring stay (f0r the boy at least) is interrupted by a young man, “a baron from a not particularly illustrious noble family in the Austrian civil service.” With the Baron’s “inability to tolerate solitude,” the first thing he does is to check the hotel register. He’s looking for a “little light-hearted flirtation,” to ease the boredom. In the dining-room, he sweeps a gaze over the guests and a first glance leads him to think there’s “no chance of even a fleeting adventure.” We don’t exactly get a good impression of this baron. He’s:
a man who will never overlook any erotic opportunity, whose first glance probes every woman’s sensuality and explores it, without discriminating between his friend’s wife and the parlour-maid who opens the door to him. Such men are described with a certain facile contempt as lady-killers, but the term has a nugget of truthful observation in it, for in fact all the passionate instincts of the chase are present in their ceaseless vigilance: the stalking of the prey, the excitement and the mental cruelty of the kill. They are constantly on the alert, always ready and willing to follow the trail of an adventure to the very edge of the abyss. They are full of passion all the time, but it is the passion of a gambler rather than a lover, cold, calculating and dangerous.
This isn’t the entire quote, but it’s clear that Zweig made a study of this type of man. The Baron is a Ludic lover, and woe to the woman who takes him seriously.
Just as the Baron has accepted that a boring stay at the hotel awaits, another guest appears in the dining room: “a type he liked very much, one of those rather voluptuous Jewish women just before the age of over-maturity, and obviously passionate, but with enough experience to conceal her temperament behind a façade of elegant melancholy.” But she’s accompanied by a small pale boy named Edgar. The boy could be an impediment to seduction or a way into her company. …
There’s a wonderful scene in the dining room with Edgar’s mother very well aware of the Baron’s presence. She pretends to be unaware of his existence, but everything she does at the table becomes a performance for him. The Baron and ‘Mama’ are two erotically charged magnets. The Baron knows that “only sensuous attraction could stimulate his energy to its full force,” and that signals “the game could begin.” As for Edgar’s mother, “she was at that crucial age when a woman begins to regret having stayed faithful to a husband she never really loved, when the glowing sunset colours of her beauty offer her one last, urgent choice.”
The Baron makes a point of befriending the boy and promises him a puppy…
That’s as much of the plot as I’m going to reveal. While the Baron and Edgar’s mother are central to this story, Burning Secret is really a coming-of-age story, and as such, in some ways the novella reminded me of Agostino. In Alberto Morovia’s novel, a boy is left to his own devices for the summer while his mother spends time with a lover. Agostino is extra baggage, and so is Edgar. The difference between the two boys is that Edgar is drawn into the affair and is more than a spectator; he’s a participant, and this episode in his life becomes a major factor in his relationship with his mother.
While I am not overly fond of stories told from the view of a child, Burning Secret (and this was made into a film BTW) shows the confusion experienced by Edgar as he’s courted by the Baron and then dumped. Edgar is too young to understand what is going on, but he senses that the Baron is a threat. Zweig captures the child’s mind with Edgar’s observations–observations that the child cannot fully understand–why, for example, are his mother’s lips redder than usual, and what is the connection between being sent out of the room and what happened between his father and the French governess? The meaning of these events seem secret to Edgar and he longs, in his loneliness, to understand the adult world that whirls so mysteriously around him.
Zweig creates a story, a child, and a chain of events that we can identify with. He’s a lonely child, confused and possessive, a protective son, and at times an annoying boy who is used as a pawn in a love affair. With a brilliant ending, Zweig winds up the story, creating a segue from the child to the man.
The other novellas will be covered in additional posts with the exception of Confusion which is here.
Translated by Anthea Bell