The Glass Room Paperback

The Glass Room (Paperback)







Authors Simon Mawer

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Product Description
From Publishers Weekly
The latest from novelist Mawer (The Fall) begins with great promise, as Jewish newlyweds Viktor and Liesel Landauer meet with architect Rainier von Abt, not just an architect but "a poet...of light and space and form," who builds their dream home, a "modern house...adapted to the future rather than the past, to the openness of modern living." World events, however, are about to overtake 1930s Czechoslovakia. Viktor, like most in the community, dismisses rumors of impending pogroms-"The only people who hold the German economy together are the Jews"-but once the signs of Nazi occupation become impossible to ignore, the Landauers must abandon their beloved home. In a bizarre twist of fate, however, Liesel insists on rescuing single mother Katra, unaware that Katra is Viktor's new mistress. As the world spins into chaos, the highly symbolic Landauer house is the only constant; though it shifts identities more than once, the house remains "ageless," a place "that defines the very existence of time." Mawer's writing and characters are rich, but his twisty plot depends too often on unbelievable coincidences, especially in the conclusion.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by by Ron Charles During the pause between world wars, a Jewish businessman and his new wife commissioned a startlingly modern house for themselves in Czechoslovakia. They hired the German architect Ludwig Mies van der Rohe and gave him free rein to design an avant-garde structure that looks like a Mondrian painting in three dimensions: a long, low building of dramatic straight lines, marked by a large room with floor-to-ceiling glass walls. Unbelievably, this elegant house survived the dismemberment of the First Republic of Czechoslovakia, German bombing, Soviet invasion and the natural forces that conspire against a neglected building. The Villa Tugendhat, which has been a public museum since the mid-1990s, remains a masterpiece of minimalist architecture, and now it's the evocative setting for a stirring new novel that almost won this year's Booker Prize. The author, Simon Mawer, moves through six decades of European history, much of it unspeakably tragic, using the glass house as a window on the hopes and fears of its various inhabitants and the conflicts that rip Europe apart. Pianists and Nazis, doctors and servants, everyone is drawn to the living room's extraordinary vista and feels aroused by the promise of such clarity: This is "a place of balance and reason," Mawer writes, "an ageless place held in a rectilinear frame that handles light like a substance and volume like a tangible material and denies the very existence of time." But the architecture proves purer than the human spirit. Again and again, the residents of this glass house find they can't tolerate the light of full disclosure even as they're attracted to it. Mawer has recast the original owner of the house as a sophisticated automobile magnate named Viktor Landauer. An idealist determined to throw off the trappings of religion, aristocracy and nationalism, he's prone to grand slogans about the future and eager to enlist a mesmerizing young architect from Germany, "a poet of space and structure" who shares his sense of the exciting new world. "Ever since Man came out of the cave he has been building caves around him," Mies tells Viktor. "But I wish to take Man out of the cave and float him in the air. I wish to give him a glass space to inhabit." Viktor finds these ideas captivating, no matter how expensive. This is the "dream that went with the spirit of a brand new country in which they found themselves," he thinks, "a state in which being Czech or German or Jew would not matter, in which democracy would prevail and art and science would combine to bring happiness to all people." Mawer spreads the dramatic irony pretty thick here in the first part of the novel. With trouble already smoldering in Germany, two or three toasts to the gloriously peaceful future would have been plenty. Fortunately, he's more interesting and subtle in bringing out the small, private ways in which these characters fail to live up to their ideals. The Landauers' glass house has the effect "of liberating people from the strictures and conventions of the ordinary, of making them transparent," but that turns out to be a Foucauldian nightmare, more problematic than anyone realizes. Honestly, could you live in a place "where there will be no secrets"? While the architect insists his clients don't need walls, Viktor discovers that, in fact, parts of his life must remain cloistered. His wife, Liesel, announces to a curious public that "living inside a work of art is an experience of sublime delight," but she doesn't know what Viktor is doing in the back streets of Vienna. And soon their happy marriage becomes a kind of stage performance, free for all to see but deeply deceptive. "The Glass Room" works so effectively because Mawer embeds these provocative aesthetic and moral issues in a war-torn adventure story that's eerily erotic and tremendously exciting. No matter how transparent and luminescent their architecture, the Landauers still ride the murky currents of history. The house endures, "plain, balanced, perfect; and indifferent," but the family is swept aside by the battles that tear through Czechoslovakia. In the second half of the novel, Mawer rotates several different casts through the Landauers' home, using the glass room to examine people entirely unlike the original owners. In one of the most chilling sections, a German geneticist sets up his laboratory in the abandoned house and hopes the light of science will confirm Hitler's racial propaganda. His work is peaceful -- lots of careful measuring and photographing, "the cool gaze of scientific objectivity" -- but that only renders the whole enterprise more obscene. And like everyone else who lives in this glass room, he finds that such bright exposure makes him more determined to conceal the darkest aspects of his life. Mawer, an Englishman living in Italy, has written this novel as though it were a translation, endowing his prose with a patina of Old World formality that sounds all the more romantic. He claims he doesn't know Czech or German, but his characters speak both fluently, and his attention to foreign languages enriches every episode. These are, after all, people caught in the violent confluence of political upheaval; choosing to speak Czech or German or English becomes a matter of resistance or collusion or hope. And at crucial moments, certain foreign words illuminate the story in poignant ways, as when a Czech resident of the Landauers' old house realizes that "the word he used for room, pokoj, can also mean peace, tranquillity, quiet. So when he said 'the glass room' he was also saying 'the glass tranquillity.' " In chapter after chapter, era after era, the house miraculously continues, working as a talisman, "its spirit of transparency percolating the human beings who stand within it, rendering them as translucent as the glass itself." Like this gorgeous novel, that's an irresistible promise, though far more troubling than it first appears. charlesr@washpost.com
Copyright 2009, The Washington Post. All Rights Reserved.

Product Details
# Paperback: 416 pages
# Publisher: Other Press (October 20, 2009)
# Language: English
# ISBN-10: 1590513967

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Reviews The Glass Room


The Glass Room is a novel about a house, a real and remarkable one, although the story and characters are fictional. It begins with the return of Liesel Landauer, now elderly and blind, to the house that she, a gentile, shared with her husband Viktor, a prosperous Jewish manufacturer of fine automobiles. The Landauer House, which sits on a hill overlooking the Czechoslovakian city of M sto, was designed for the young couple by a famous Viennese architect in the 1920s, and was a classic work of modern design. The centerpiece of the house is the Glass Room, which has large plate glass windows and is partitioned by a wall made of onyx that changes in appearance with the position of the sun. Mawer describes the Glass Room early in the book, as the Landauers see it for the first time:

"It had become a palace of light, light bouncing off the chrome pillars, light refulgent on the walls, light glistening on the dew in the garden, light reverberating from the glass. It as though they stood inside a crystal of salt."

The Glass Room becomes a place where anything and everything is possible, as previous structural and cultural restraints are lifted. The wealthy and sophisticated couple embrace their new home to the fullest, using it frequently to host friends and business colleagues. Liesel's best friend, Hana, a irreverent, beautiful and sexually hungry married woman, is a frequent visitor who provides vitality and spark to the setting.

However, changes are occurring in Europe that darken and threaten the couple's idyllic existence. Hitler's national socialism spreads through and beyond nearby Germany, and the livelihood of Jews in Czechoslovakia becomes slowly but progressively more difficult. The Landauers initially ignore the warnings, as their wealth and influence insulate them from the growing menace. The couple agrees to take in a young woman who has been forced to flee from Vienna, a woman who is well known to Viktor. Finally the couple decides to flee their beloved house and country, but by the time they decide to do so, the Germans have already occupied Czechoslovakia. Hana and her Jewish husband, however, decide to stay in M sto.

The novel then alternates between the lives of the Landauers and the new occupants, leading up to Liesel's eventual return to the Landauer House.