Lotte in Weimar.

New York, NY Penguin Books, 1968. Paperback First Edition Thus (1968), Second Printing (1973). Near Fine in Wraps: the outside edges show only minimal wear and the panels show only the mildest rubbing; a tiny, very faint coffee-like stain at the backstrip; a former owner's first initial and surname at the upper front endpaper; the expected light tanning to the text pages due to aging; the binding is square and secure; the text is clean. Free of creases to the panels. Free of creases to the backstrip. Free of creased or dog-eared pages in the text. Free of underlining, hi-lighting, notations, or marginalia. A handsome, apparently unread copy, structurally sound and tightly bound, showing very mild wear and minor, unobtrusive cosmetic flaws. Bright and clean. Close to "As New". NOT a Remainder or Book-Club. 12mo. (7.2 x 4.4 x 0.75 inches). 331 pages.. Translated from the German by H.T. Lowe-Porter. Language: English. Cover depicts a detail from a painting "Woman by a Window" by Kaspar David Friedrich. Weight: 7 ounces. Penguin Modern Classics Series. First Edition Thus (1968), Second Printing (1973). Mass Market Paperback. Lotte in Weimar: The Beloved Returns, otherwise known as Lotte in Weimar is a 1939 novel by Thomas Mann. It is a story written in the shadow of Johann Wolfgang von Goethe; Mann developed the narrative almost as a response to Goethe's novel The Sorrows of Young Werther, which is more than 150 years older than Lotte in Weimar. Lotte in Weimar was first published in English in 1940. The novel presents the story of one of Goethe's old romantic interests, a real historical figure by the name of Charlotte Kestner née Buff, who has come to Weimar to see him again after more than 40 years of separation. Goethe had romanced Charlotte when they were young, but she had already been engaged (and then married) to another man whom she truly loved. Ultimately, the romance ended unconsummated; afterwards, Goethe wrote a fictional depiction of these events, with some artistic changes, and published it under the title The Sorrows of Young Werther—still famous of course, which brought early renown to Goethe. The real Charlotte became inadvertently and unwillingly famous, and remained so for the rest of her life to a certain degree. Her return in some ways is due to her need to settle the "wrongs" done to her by Goethe in his creation of Werther; one of the underlying motifs in the story is the question of what sacrifices both a "genius" and the people around him/her must make to promote his/her creations, and whether Goethe remained distanced even to friends and family members, exploited others' talents and sympathy, and was ultimately guided only by his interests. Most of the novel is written as dialogues between Charlotte and other residents of Weimar, who give their own opinions on the issue of Goethe's genius. Only in the last third of the book, starting with the internal monologue in the seventh chapter, is the reader finally directly confronted with Goethe and what he himself thinks of the entire affair. Lotte in Weimar echoes in subtle ways both Mann's respect for and his demythologizing approach to Goethe.