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Krystyna: The Tragedy of the Polish Resistance (Studies in Austrian Literature, Culture, and Thought Translation Series)

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Gustav Meyrink's "The Green Face" is an exhilarating vision of apocalypse. First published in 1916, the novel sets its action in the near future of post-war Amsterdam, a city brimming with displaced people and with a stifling atmosphere of unrelenting tension. At this critical time appears an enigmatic being named Chidher Green, the mythical Wandering Jew.

Meyrink reworks and amplifies the legend of the Wandering Jew (a being fated to walk the earth from the days of Christ till the end of time), portraying his Chidher Green as a harbinger of cataclysmic change both for the novel's protagonist, Fortunatus Hauberrisser, and for Amsterdam in general. The story begins with Hauberrisser encountering Chidher Green in a magic shop one day, oblivious to his identity. Soon after, Hauberrisser finds a peculiar chain of old memories and chance encounters erupting around him. As in a house of mirrors, this one image of a bronze-green face suddenly appears around every corner. The face becomes a sort of totem of meditative contemplation (drawing associations with Zen Buddhism). Finally, Hauberrisser and his companions reach a consensus over the phenomenon's significance: If one were to attain a spiritual state in which this face manifested internally, a unique form of transcendence would then be achieved.

When all is said and done, Fortunatus Hauberrisser does not prove to be one of Meyrink's most memorable characters. However, it is also true that his protagonists are often intended as ciphers. If this novel is Meyrink's "Book of Revelation," then Hauberrisser is certainly his Saint John, valuable largely for his role as privileged witness to the spirit world's mysteries.

Also, the route Hauberrisser must take through the story is Meyrink's familiar path of enlightenment-a moment of sudden spiritual awareness followed by a period of isolation, which at last leads to promises of a mystical marriage. Though this path echoes through Meyrink's other work, it would be a mistake to imagine he is simply repeating himself or relying on a formula here. Meyrink has a very distinct vision of the soul's progress; and it is this intense conviction that again manifests so clearly in "The Green Face."

"At the beginning, when we make our first, hesitant attempts, it is like a mindless groping in the dark, and sometimes we do things that resemble the actions of a madman and for a long time seem to lack all consistency. It is only gradually that the chaos forms into a countenance, in whose varying expressions we can read the will of destiny. At first they are grimaces, but that is the way it is with all great matters."

The best thing about Meyrink's novels, and particularly about "The Green Face", is that the depth of its meanings goes beyond one single interpretation. It's very true that it deals with tantric love, and also with the "Wandering Jew" legend, but it has other hidden deep significances, like the mystic conception of life as it's taught in the Upanishads, Buddhism or Taoism. There is also a big chain that links Meyrink's images with avant-garde Expresionism; and it finally could be seen as the anticipating view of a totalitarian Europe under Nationalsocialism projecting its shadow in a sombre and sinister Amsterdam, which is the new disguised shape of Prague described by Kafka, and by Meyrink himself in "The Golem". The content of the novel is finally enriched by references to Jewish Cabalistic experience, Egyptian ancient religion and to African Vudu. It's a very complex novel, full of symbols and allegories, difficult to understand but definitely worth the trouble.

What I've always enjoyed most in both poetry and prose, is when a writer utilizes constellations of mythological currents and symbols and their interconnections in an effective manner, giving the work the timeless quality of myth itself. This is particularly good if the writer is trying to put forth some kind of esoteric or philosophical idea, and I try to do this in my own writing. Generally speaking I tend to not enjoy these sorts of occultish novels from the late 19th and early 20th centuries even though I am an occultist, because they seem to lack artistic merit and instead have a tendency to act as a soapbox for indoctrination into some esoteric philosophy. Meyrink has not done this, at least in this novel, but has created a real work of art that is also a real page turner which will really pull you into it. It is also clear that the knowledge of various myths and folklore he drew upon in creating this novel was extensive, which is what makes it good.

i wasnt able to appreciate this one as much as the golem. the atmospheric horror and alchemical philosophy isnt as well executed and the dated racist attitudes are distracting. there is some whimsy in the opening scenes that is unexpected and fun.

Disregard what everyone says of this book. Discregard the Golem, the Angel, and any other work you may wish to set this one besides in comparison. Read it, as an individual piece, and take from it what you will. You'll know whether you have gotten the message or not when youre through...trust me. Take the time, read this book - it's worth it.

I have not finished the book yet, but think it is a wonderful evocation of the sense of madness and horror after the war. But, can anyone explain how, if really published in 1916, he is able to discuss the end of the war (which I am sure he mentions as being of 4 years' duration)?

"Gustav Meyrink is one of the greatest european mystiques (magicians/yogis) of 20th century". This said another yogi par exellence... His books are not symbolical...

This is a tantric story about trust and love. But love in the way known only by tantric people. Is about spiritual path, and how can one rise other if there is love and trust.