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It centers on an abortive fist-fight between two youths, a German and a Spaniard, refereed by a somewhat equivocal dancing-master, Herr Knaak (“who picked up the edge of his frock-coat with his finger-tips, curtsied, cut capers, leaped suddenly into the air, where he twirled his toes before he came down again”), and observed by a third boy, a twelve-year-old English cherub named Johnny Bishop. “The Fight Between Jappe and Do Escobar” is a minor but perfectly achieved example of Mann’s storytelling genius. Unable to channel his intellectual energies into any form of extended labor, Mann had quickly dashed off his new story after an unexpected encounter with a childhood friend, Count Vitzum von Eckstädt, revived memories of their schooldays together, memories which, as was almost invariably his custom, he sought at once to transmute into fiction. The garish circumstances of her suicide-she had swallowed, as Mann himself was later to write, with an unnerving absence of sibling warmth, “enough potassium cyanide to kill a company of soldiers”-suggested that poor Carla had ceased to make too much of a distinction between her own life and the melodramas in which, as a hopelessly third-rate actress, she had tended to be cast. He had also been troubled, although less profoundly than might have been predicted, by the horrific death of his younger sister Carla. He had laid aside (temporarily, he assumed) a projected comic novel to which, as it transpired, he would return only at the very end of his life and which was first published, in English, with the rather unwieldy title Confessions of Felix Krull, Confidence Man: the Early Years, in 1955. Mann, who was then in his mid-thirties, had been feeling as ill-humored, as cantankerous, as irritably out of sorts, as one of his own neurotic protagonists.
ON A DECEMBER afternoon in 1910 Thomas Mann treated his immediate family circle, his wife and elder brother, to a reading of a short work of fiction, “The Fight Between Jappe and Do Escobar,” which he had just that day completed. The following is excerpted from The Real Tadzio: Thomas Mann’s Death in Venice and the Boy Who Inspired It (Carroll & Graf, 2003).