By Simon Mawer
Honeymooners Viktor and Liesel Landauer are full of the optimism and cultural vibrancy of crucial Europe of the Nineteen Twenties after they meet modernist architect Rainer von Abt. He builds for them a house to include their exuberant religion sooner or later, and the Landauer residence turns into an quick masterpiece. Viktor and Liesel, a wealthy Jewish multi-millionaire married to a considerate, smooth gentile, pour all in their hopes for his or her marriage and budding family members into their gorgeous new domestic, filling it with teenagers, buddies, and a iteration of artists and thinkers wanting to abandon old-world ecu variety in prefer of the hot and the avant-garde. yet as existence intervenes, their new domestic additionally brings out their so much passionate wants and darkest secrets and techniques. As Viktor searches for a hotter, much less tough convenience within the palms of one other lady, and Liesel turns to her wild, mischievous pal Hana for pleasure, the wedding starts to teach indicators of pressure. The radiant honesty and idealism of 1930 quick evaporate underneath the typhoon clouds of global conflict II. As Nazi troops input the rustic, the family members needs to go away their outdated lifestyles in the back of and try and break out to the US sooner than Viktor's Jewish roots draw Nazi cognizance, and earlier than the relations itself dissolves.
As the Landauers fight for survival overseas, their domestic slips from hand at hand, from Czech to Nazi to Soviet ownership and eventually again to the Czechoslovak country, with new population continually falling below the fervent and unrelenting impact of the Glass Room. Its crystalline perfection exerts a gravitational pull on those that are aware of it, inspiring them, releasing them, calling them again, until eventually the Landauers themselves are eventually drawn domestic to the place their tale began.
Brimming with slightly contained ardour and cruelty, the precision of technology, the wild variance of lust, the catharsis of confession, and the phobia of failure - the Glass Room comprises all of it.
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Additional resources for The Glass Room
While most participants voiced that middle age was a time of relative occupational security, they also discussed how moving into old age limits occupational opportunities and signifies retirement. Several men spoke specifically about the existence of a chronological cut-off point, after which it would be difficult or impossible to change careers or jobs. Jack (age 61) talked about experiencing increased invisibility at work: ‘I really felt treated like I was an old man ... ’ They often mentioned retirement as a goal previously distant, which had grown close.
Anti-aging hGH Therapy, 2002) Other sites employ similar images of old age as disease and allusions to technical (scientific, mathematical) thought as they warn against the loss of youth: ‘[y]ou have to capture the energy and vitality that is slowly ... but surely fading away ... It’s simple math, the longer you wait to begin the less pleasant the second half of your life will be’ (Anti-aging Research, 2005). ’ One site defines ageing as the ‘disorganization, deterioration, dissolution, wear and tear that breaks our bodies down and causes us to look older’ (Anti-aging hGH Therapy, 2002).
I was watching him last night playing, you know, that’s a wonderful kind of engagement and something hopefully he retains ... ’. These participants largely felt that old age was a sort of acquiescence, a failure to try hard enough, often with scorn for those who did not fight against their ageing. Various participants brought up examples of individuals who were ‘living old’ or just not trying hard enough, letting themselves go. Most of the interviewees agreed that there were some parts of ageing life that one can and should control.
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