The Artist's Wife: A Novel [Hardcover]

Max Phillips (Author)

Book Description

Publication Date: June 21, 2001

An elegant reimagining of the life of Alma Mahler, the lovely, aristocratic fin-de-siècle composer who abandoned her own art to become the inspiration and collector of geniuses.

At the turn of the century, "the most beautiful girl in Vienna" stood at the threshold of a promising musical career. But instead, she turned her considerable talents to becoming a freelance muse. Passionate, fickle, brilliant, and alcoholic, she conquered a series of difficult geniuses, including the composer Gustav Mahler (whom she sent to Freud for marriage counseling); the architect Walter Gropius, who went on to found the Bauhaus movement; the writer Franz Werfel, author of The Song of Bernadette; and the revolutionary painters Gustav Klimt and Oskar Kokoschka.

Deftly bling period detail and modern sensibility, Max Phillips presents the bold, unapologetic Alma, who narrates her own provocative story, bringing to life the luminaries of her era as she tells of her triumphs in the fading elegance of Central Europe's beau monde, her flight from Hitler's Anschluss, and her exile in golden-age Hollywood. A glittering, darkly sensual novel, The Artist's Wife turns the lens of history upon the nature of inspiration, ambition, and love.

Editorial Reviews

From Publishers Weekly

Alma Mahler Gropius, the "wild brat" of fin-de-siecle Vienna, is the graceless subject of Phillips's (Snakebite Sonnet) bitingly sarcastic historical novel. The fetching and full-figured daughter of a celebrated landscape painter and a self-sacrificing lieder singer, Alma Shindler had little education, undeveloped musical talent dulled by a hearing defect and lifelong laziness, but a lot of spunk when it came to attracting admirers. Enamored of Nietzschean ideals and anti-Semitism, she could count among her lovers or husbands the director Max Burckhard, artists Gustav Klimt and Oskar Kokoschka, Wagner interpreter and composer Gustav Mahler, Bauhaus architect Walter Gropius and author Franz Werfel. In Phillips's version, Alma recounts her long and eventful life from the grave ("Death, also, I find to be a disappointment") with a prefacing remark that sets the chatty, ill-tempered tone for the rest of the narrative: "I was awfully interested in myself when I was alive." Phillips's well-informed presentation of the historical milieu is overpowered by the self-centered sensuality of his protagonist, who comes across as a spoiled and mean-spirited Moll Flanders. "I wanted to be with a man as awful as myself," she muses early on. At first, the tone is refreshingly astringent, but as the novel proceeds, Alma's exploits become increasingly grating, and the reader comes to believe that even Phillips can't abide his anti-heroine. Yet Alma's forthright narration succeeds in conveying the personality of a complex, indomitable woman who behaved "more like a man than a woman," fascinated Vienna's art world and, later, Hollywood's expatriate colony, and who lived life exactly as she wished, bravely and without hypocrisy. Agent, Henry Dunow.

Copyright 2001 Cahners Business Information, Inc.

From Booklist

The crucial test of a successful historical novel is whether the past is brought to vivid and viable light. Phillips' second novel, passing with flying colors, takes the form of a memoir by Alma Mahler, widow of famous late-nineteenth- and early-twentieth-century Austrian composer Gustav Mahler. She remembers her life not from the perspective of old age but from the vantage point of the grave, for as she observes, "the dead know everything." Alma was the daughter of a noted Austrian landscape painter, and she grew up to be remarkably beautiful. A minor composer herself, she attracted like bees to honey men of artistic consequence across three eras: fin de siecle, pre-World War I, and interwar Vienna. The roster of Alma's men included, besides Mahler, architect Walter Gropius and author Franz Werfel. For all her attractiveness, Alma proved emotionally stingy as a wife, lover, and mother. "I lived a long life and I was unkind to many men," she admits. Alma doesn't earn the reader's admiration; nevertheless, she and her world are made, yes, vivid and viable. Brad Hooper
Copyright © American Library Association. All rights reserved

See all Editorial Reviews

Product Details

• Hardcover: 256 pages
• Publisher: Henry Holt and Co.; 1st edition (June 21, 2001)
• Language: English
• ISBN-10: 0805066705
• ISBN-13: 978-0805066708
• Product Dimensions: 8.1 x 5.9 x 1 inches
• Shipping Weight: 14.4 ounces
• Average Customer Review: 4.3 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #2,176,403 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

20 of 20 people found the following review helpful:

5.0 out of 5 stars Spun Gold, April 29, 2002

By A Customer

This review is from: The Artist's Wife: A Novel (Hardcover)

"The Artist's Wife" is based on the life of Viennese beauty, Alma Schindler, an incredible woman with hair of (seemingly) spun gold, who married, believe it or not, the composer Gustav Mahler, Bauhaus architect Walter Gropius and the writer Franz Werfel. All of them, including Gustav Klimt, the most important painter of fin-de-siecle Europe, loved her to distraction and swore that a part, at least, of his most profound and greatest work was inspired, both by her and by his passion for her.

Alma, while being quite successful as a muse, was less successful as a mistress and a wife, and she was certainly no "good girl." She sometimes had more than one lover at a time and felt no shame in the situation. Instead, she called herself "a collector of geniuses." She was, by turns, a seductress, a flirt, a romantic and a real delight. She was also dreadfully anti-Semitic despite the fact that she had, not one, but two, Jewish husbands, Mahler and Werfel.

This book is called "fiction" but it is really based on Alma's own memoirs. Phillips writes the story from Alma's point of view, however, from beyond the grave, and he tosses in carefully chosen bits of imagined conversation, etc., causing the book to be classified as "fiction" rather than "fact."

Alma is not a character we can admire, but she is certainly interesting. She is a restless spirit in death and in life she was often selfish and downright mean. More than anything, she is vain, but she is not vain about everything. She does realize that she, too, has her faults. As she says about her voice, "I screeched all the Wagner roles until I ruined a good mezzo-soprano voice." And, as she once wrote in her diary, "I'm utterly vulgar, superficial, sybaritic, domineering and egoistic!"

If Alma was hard on herself, she was even harder on her husbands and lovers and even her potential lovers. She was a notorious flirt who often brought men to their knees only to spurn them in the most ungracious manner. One sometimes wonders why she bothered marrying at all; her opinion of the men in her life seems so very low. Gropius, who seems like an Adonis to Alma at first, sours as well, leaving Alma bored and lonely at only thirty-two and ready for an encounter with the wild, possessive and jealous painter, Oskar Kokoschka, who is six years her junior. Kokoschka, in the end, loses out to Gropius who, despite his boring qualities is more of a genius than is Kokoschka. Kokoschka doesn't take his humiliation at all well and what he does is pitiful, a little shocking and even a little funny. And, to be sure, the humor of the situation isn't lost on Alma.

Sadly, in some ways, Alma Schlinder, whose life so depended on her good looks and her vibrant wit, oulived almost everyone around her and lost both her looks and her wit at about the same time.

Although some readers have complained about the rather staccato prose in this book, it is prose that fits exactly the way Alma wrote in her own memoirs, so I think it is very fitting that Phillips adopted this style. And while some readers will no doubt see Alma as simply vain and mean-spirited, she was fascinating...there can be no doubt about that. I think Phillips has done a marvelous job in capturing the qualities and the vibrancy of Alma that made her so irresistible to so many men, despite the fact that she never really respected them, and perhaps, never really loved them.

I loved this book. I thought it was interesting, well-written and vivacious...just as vivacious as was Alma Schindler in her youth. And that is really saying a lot.

18 of 19 people found the following review helpful:

5.0 out of 5 stars Truth can be stranger than fiction. Sometimes., October 17, 2001

By 

Bob Zeidler (Charlton, MA United States) - See all my reviews

This review is from: The Artist's Wife: A Novel (Hardcover)

I approached this book with some trepidation, not quite "fear and loathing" perhaps, but close enough. My reason? Simple enough. My fondness for Gustav Mahler's music - irrespective of what warts the man may or may not have had - made me think twice before reading a fictionalized version of "the wild brat's story" and how it might have distorted my own version of reality concerning my favorite composer. I shouldn't have worried.

Some thirty-odd years ago, I had the opportunity to read an English translation of Alma Mahler Werfel's "Ein Leben mit Gustav Mahler" ("My Life with Gustav Mahler"). The book was not mine, and I regret not having my own copy to this day, if for no other reason than that Alma edited these reminiscences with a rather heavy hand, lest the reader get the idea that she was less than devoted to Mahler. Of course, even then, her legend preceded her. Those of a certain age (and I am one of them) well remember Tom Lehrer's send-up of her, sung to the melody of "Alma Mater." A tune as trenchant commentary, deservedly so.

Well, if there's nothing new under the sun from Tom Lehrer (and others) from then till now, why in the world should one read this "autobiographical" novel? For the simple reason that Max Phillips has fashioned an excellent tale about a fascinating woman whose greatest adventures occurred during a time when her fin-de-siècle Vienna and Hapsburg world was simultaneously both filled with intriguing characters and at the brink of chaos and collapse.

Despite her own heavy hand at personal "damage control," there is plenty of historical corroborating information (including those parts of her diaries and memoirs that she did indeed approve for publication) to state that Alma was clearly all of these: Self-absorbed, wilful, modestly talented, unafraid of her own sexuality, a flame to the moths of creative genius of the times, a sometime muse to these geniuses, and self-appointed - or perhaps self-anointed - champion and guardian of the arts of her times, with her "Sundays" (salons at which all the rich and famous of the arts of the period grovelled for her invitations and attention). She was also beautiful by the day's standards, and suffered from both deafness and alcoholism. Nevertheless, she outlived all but one of her husbands and lovers, living to the ripe old age of 84, by that time a barely-subdued doyenne. (Of her paramours, only Oskar Kokoschka outlived her, finally expiring at the very ripe old age of 94 in 1980.)

In an endnote, Phillips begins by stating "To put it mildly, this is not a work of scholarship." While perhaps true - because Phillips does take minor liberties with the timings and juxtaposition of events and (probably) major liberties with words placed in the mouths of his panoply of characters - he is being entirely too modest (perhaps with tongue implanted firmly in cheek) regarding these liberties. For, at the end of it all, one does come away with a clear sense of "what Alma was all about," and of an epoch and its end. The latter is detailed better in "Wittgenstein's Vienna" by Allan Janik and Stephen Toulmin, a true work of scholarship available elsewhere at Amazon.com. But, where Janik and Toulmin are factual - almost, but not quite, to the point of pedanticism - Phillips is downright trenchant in his observations on the epoch and in the words he puts in his characters' mouths.

At the end, the tale turned out to be both a hoot and a valuable backward glance at an artistic period and place which we in America regrettably understand not well at all. As I said at the outset, "I shouldn't have worried."

Bob Zeidler

9 of 9 people found the following review helpful:

5.0 out of 5 stars She did not falter on a trip to the altar..., September 14, 2001

By 

Jeff Abell (Chicago, IL USA) - See all my reviews

This review is from: The Artist's Wife: A Novel (Hardcover)

Alma Mahler is one of the most intriguing figures in an era filled with some of the most significant (and slightly crazy) figures in the 20th century. As someone who has read Alma's own diaries, as well as books by and about her numerous lovers (Gustav Mahler, Oskar Kokoshka, Walter Gropius, Franz Werfel, among the most famous), Max Philips does a fabulous job of getting at the essence of this astonishing woman. Philips does not claim to have written a book of historical accuracy, but the details aren't as important as that maddeningly willful yet passive tone of voice, and Philips captures that brilliantly. A wild ride through the Vienna of Freud, Klimt, and Mahler, if you aren't already familiar with Alma's excellent adventures, this is a great place to start.