“You don’t know the effect that the applause of hundreds of enthusiastic listeners, that the praise of the press–that fame will have on you.”
Arthur Schnitzler’s novella, Late Fame examines the tricky labyrinths of self-delusion through the dreams and desire for literary glory. This novella, originally intended for publication in a magazine, was resurrected from Schnitzler’s archives, and its title, published now decades after its creation, has an irony which is underscored by the material itself.
Eduard Saxberger is a 69-year-old civil servant, a bachelor, who has had a successful career, and who lives alone, contentedly, in a pleasantly appointed house. His life is disrupted by the arrival of Wolfgang Meier, a young poet, a member of the “Enthusiasm society,” who gushingly asks if Saxberger is the author of The Wanderings.
Saxberger has almost forgotten his long-dead and buried dreams of literary fame. At first when he rereads the poetry he wrote so many decades before, painful memories awake:
The whole sorry life that he had led now passed though his mind. Never had he felt so deeply that he was an old man, that not only the hopes, but also the disappointments lay far behind him.
Meier understands why Saxberger stopped writing poetry:
It’s the same old story. At the start, we’re satisfied to have just our own pleasure in our work and the interest of the few who understand us. But when you see those coming up around you, winning a name and even fame for themselves-then you would rather be heard and honored as well. And then come the disappointments! The envy of the talentless, the frivolity and malice of reviewers, and then the horrid indifference of the public.
Charmed and flattered by the reverence shown by Meier, Saxberger mingles with the young writers, the self-styled “hope of young Vienna,” and so begins a period of renewal in Saxberger’s life. He discovers that while he loves listening to these young people praise his work, he’s bored when asked to critique another’s poems. He joins these “writers who stay apart from those following the beaten track,” and once again Saxberger dreams of literary fame. …
Late Fame is a delightful tale which follows Saxberger’s ‘renewal’ which comes to a crisis point when he’s asked to write a new poem for a public reading–a reading which will, the poets claim “show that rabble,” who will “get the shock of their lives.” A great deal of the story’s humour is found in the relationships within the group of writers. These include various poets, an unemployed actor, and a rather shopworn actress who “doesn’t fit into regular theatre life.” From a distance, she looks impressive, but as she comes closer to Saxberger, he sees “the strangely ravaged lines of the face itself.” The penetrating stares she insists on sending Saxberger make him uncomfortable.
According to the group, anyone not in their circle are “the talentless ones,” “careerists,” “followers of literary fashion.” Schnitzler captures not only the seductiveness of fame, but also how easy it is to cloak ourselves in self-delusion. This circle jerk of poets and writers support each other with claims of being ‘true’ and chafe against the lack of fame while skirting the possibility of lack of talent. In their circle, they survive on mutual admiration as they bolster each other’s lack of progress. We’ve all met people like this, and we all know how impossible it is to break through the tough membrane that protects the talentless. Does Saxberger profit or suffer from this experience? That’s for the reader to decide.
This bittersweet tale of fame lost and found will make my best-of-year list.
Translated by Alexander Starritt