Tag Archives: Jorge Luis Borges

Master of the Day of Judgment


Automn 1909 in Vienna. The famous actor Eugen Bischoff has invited a few friends to his villa for a Hausmusik evening (a tradition in many cultured German and Austrian homes). Together with his wife Dina, her brother Felix, his friend Doctor Gorsky, and the narrator Rittmeister von Yosch the amateur musicians play several pieces from the classical repertoire. A rather late arrival, the engineer Solgrub interrupts unintentionally the music performance, and the friends are starting to ask Bischoff about his new role, Shakespeare’s King Lear. Bischoff retires briefly to a garden pavilion pretending to need a short preparation time for giving his friend a short performance to show them how he understands this role. Suddenly, two shots are heard from the pavilion. When the alarmed company rushes to the place, they find Eugen Bischoff dead.

Was it suicide? Was it murder, as Solgrub believes? But then, the door of the pavilion was locked from the inside…Had the narrator a hand in it? After all he had a motif: four years ago, he had an affair with Dina and was madly in love with her. While Dina and Felix suspect at least an indirect involvement of von Yosch in the death of Eugen Bischoff, Solgrub points at several similarly mysterious suicide cases in the recent past. While all four male characters start – sometimes individually, sometimes together – to investigate about what’s behind the mysterious death of Eugen Bischoff, it turns out that more shocking events are going to happen. The key to resolving the mystery seems to be an old manuscript from the 16th century that tells the tale of an Italian painter, known as the Master of the Day of Judgment, a tale that gives an uncanny explanation to the mysterious events unfolding in the Vienna of the year 1909.  

It would spoil the fun to read this book if I would give away more details here regarding the plot. I enjoyed this book tremendously, for several reasons.

Perutz writes a very elegant prose, and this together with his ability to depict situations, people and the few unexpected twists and turns in the story made me devour this book in one sitting. I found it unputdownable (I like this English word!). Perutz knew the milieu about which he was writing very well, and I had the impression that he had a fine ear also for social differences and how they affect the way how people speak in the book – the use of dialect of a taxi driver; the switching to the familiar ‘Du’, but adding the for non-Austrians funny ‘Herr Rittmeister’ by a former army officer unknown to von Yosch when he is talking to the narrator, based on the simple fact that they served in the same military unit; the servile approach of the people working in the pharmacy; the extremely polite way of speech of the Sephardic money-lender; these are just some of the pleasures of this book.

Another thing that I liked: it is difficult to say to what genre this somehow hybrid book belongs, and I think this is one of its strengths – it so unlike most of other genre books you will read. It borrows elements of the mystery genre; it is also a variation of the locked door mystery; there are elements of horror that let me think of E.T.A. Hoffmann, Edgar Allan Poe, or even Stephen King. And it has also elements of a historical novel. Additionally, the narrator is a character with more facets as meet the eye in the beginning. Below the surface of the cultured, book and music loving man with a rich emotional life, is also someone who is strictly following the military code of honor, and to him the killing of a man in a duel for a rather trifling matter is not a big deal, a fact about which even his friends have no illusion.

And one more thing: the novel is also to be read in the tradition of the literary sub-genre “The Perpetrator as Investigator” that is quite popular in German literature: the main character is investigating a crime that he himself has (possibly) committed – Heinrich von Kleist’s Broken Jug, Heinrich Spoerl’s The Muzzle, or Heimito von Doderer’s Every Man a Murderer come to mind.

The last chapter, the remarks of the person who found von Yosch’s manuscript, give the text again a new possible interpretation. The story can be read as a mystery or fantasy novel; but the biggest mystery, as the novel advances is hidden in the souls of the characters of this book, and their obsessions with the horrors they faced in a certain moment of their lives, and with the feelings of guilt they experienced in traumatic situations. To quote a word by Edgar Allan Poe: “I maintain that terror is not of Germany (or in this case: Austria – T.H.), but of the soul.”

I read the book in German, therefore I can’t say anything regarding the quality of the translation.

Leo Perutz was born in Prague in 1882; he attended the same school as Max Brod and Felix Weltsch, two close friends of Franz Kafka, who were slightly younger than Perutz. Later he worked in Trieste (in a time when James Joyce and Italo Svevo lived there) as a mathematician for the same insurance company as Kafka. A compensation formula he worked out was for a long time used in insurance business all over the world (the ‘Perutz’sche Ausgleichsformel’). Just like Robert Musil, who left a mark outside the literary world (he invented the ‘Musil color top’), he was a man with more than one talent. Perutz was very successful as an author in Vienna in the 1920’s and 1930’s, but his Jewish origin made publication after 1938 impossible, and his emigration to Palestine where he felt cut off from the culture and language to which he belonged, made his life difficult. Additionally, he was opposed to the creation of the state of Israel and was supporting a bi-national solution for Palestine as a home for Jews and Arabs as well. In the 1950’s he started to travel to Austria again frequently. He died in 1957 in Bad Ischl, while visiting his old friend Alexander Lernet-Holenia.

If you haven’t read anything by Perutz, I can heartily recommend his books. And if you don’t trust me, trust Jorge Luis Borges, Italo Calvino or Graham Greene who loved his books. Also Theodor W. Adorno, Ian Fleming, F.W. Murnau and Alfred Hitchcock were fans of Perutz. My personal Perutz favorite is By Night under the Stone Bridge, but also The Master of the Day of Judgment is excellent in my opinion.

Leo Perutz: Master of the Day of Judgment, translated by Eric Mosbacher, Pushkin 2015

This review is published in the framework of the 2017 edition of German Literature Month, organized again by Caroline from Beauty Is A Sleeping Cat and Lizzy from Lizzy’s Literary Life. A list with links to all published reviews by the participating bloggers can be found here.


© Thomas Hübner and mytwostotinki.com, 2014-7. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

“Borges”, von Stefan Ivanov



той се страхувал
от две неща
от лабиринт
(къща без врати
в центъра на която
го очаква чудовище)
от огледала
че някога ще види отражението
на непознато лице
или още по-лошо
няма въобще да има лице)

възхищавал се
на свети августин
за метафоричната употреба
на християнски символи –
“христовият кръст
ни спаси
от кръглия лабиринт
на стоиците”

той не вярвал –

религията му била интересна


малко преди

да влезе в лабиринта
на вавилонската библиотека
да няма отражение в огледало

борхес помолил маргьорит юрсенар
да отиде в швейцарския апартамент
където някога живял
да му го опише

спестила му факта
че когато някой влиза
през входната врата
гигантско огледало
със златна рамка
сграбча посетителя
от глава до пети


малко преди да почине
на 14 юни 1986 в женева

борхес слуша как
медицинската сестра
му чете хайнрих фон офтердинген на новалис

чел я е
преди седемдесет
или седемстотин години
в същия град

когато отново отворил очи
не е имало огледало пред него
или банален лабиринт с чудовище

главният библиотекар
не си прави глупави шеги




er fürchtete sich
vor zwei dingen
vorm labyrinth
(einem haus ohne türen
in dessen mittelpunkt ihn
ein ungeheuer erwartet)
vorm spiegel
(er vermutete
dass er eines tages die reflexion
eines unbekannten gesichts
oder noch schlimmer
überhaupt keines gesichts sehen würde)

er bewunderte
den heiligen augustinus
für die metaphorische verwendung
christlicher symbole
“das christliche kreuz
rettet uns
vorm runden labyrinth
der stoiker”

er glaubte nicht –

seine religion war interessant


kurz bevor

er das labyrinth
der bibliothek von babel betrat
bevor es keine reflexion im spiegel mehr gab

bat borges marguerite yourcenar
in seine schweizer wohnung zu kommen
in der er einst lebte
und sie ihm zu beschreiben

sie ersparte ihm die tatsache
dass wenn jemand durch
die eingangstür trat
ein riesiger spiegel
mit goldrahmen
den besucher von kopf bis fuß


kurz bevor er starb
am 14. juni 1986 in genf

hörte borges zu
wie die krankenschwester ihm
heinrich von ofterdingen von novalis vorlas

er hatte es
vor siebzig
oder siebenhundert jahren
in derselben stadt gelesen

als er erneut die augen öffnete
befand sich kein spiegel und
kein banales labyrinth mit einem ungeheuer vor ihm

der große bibliothekar
machte keine dummen scherze

aus: Stefan Ivanov: Spisatsi, Siela, Sofia 2009

Übersetzung aus dem Bulgarischen von Thomas Hübner


© Stefan Ivanov, 2009
© Siela, 2009
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.