The design and UX isn't done, Rob and Abbie, okkurrrr! 😌
lucyhollerer's review against another edition
adventurous
challenging
emotional
inspiring
mysterious
reflective
relaxing
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
_alyosha_'s review against another edition
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.25
florisw's review against another edition
4.0
I definitely see why The Glass Bead Game has become such a classic book, and why several people recommended it to me lately. The story is so unique (at least for me) and well-thought out, and Hesse is so good at creating a believable world. There's also a timeless quality to it - the story takes place at an unspecified time in the future, but it feels like it could have been an alternative version of our current history (somewhere between the 1850s and 1950s, with only a single mention of a radio and a few mentions of cars making me lean towards the latter). The archaic intellectual, verbal, and domestic habits of the Castalians - the monkish intellectual class of this future society - really add to the uncanny future-past feel of it. There were certain passages that were also genuine page-turners for me, these often being the ones where the main character, Joseph Knecht, faces an immediate dilemma or challenge to his ordered worldview (an emotional trauma, a different perspective, a political controversy). However, these passages are few and far between, as the book is mostly about Knecht's gradual transformation from a young musical prodigy to the legendary magister ludi, or master of the game. I say gradual, its pace is quite inconsistent (often explained away by historical records being patchy or some similar excuse). Good luck trying to track the passing of time - sometimes years will be covered in pages, sometimes a whole chapter will cover one conversation. Most of Knecht's career as the magister ludi is skipped, the beginning and ending being the only juicy bits, and the rest we are left to fill in ourselves.
The book certainly feels like it was written in the earlier part of the previous century. Certain elements, like the lack of emotional intelligence of or odd interactions between characters are a little offputting. The way the narrator describes Knecht's friendships sometimes makes the protagonist comes across as emotionally-manipulative (thinking in particular his relationship with Tegularius), not helped by the impression that Knecht often rises above the emotional plane, looking down on everyone else. (For example, when he's being accused by Plinio of causing him emotional harm, and he simply smiles in a way that conveys ultimate friendliness whilst making Plinio doubt whether he could ever have been hurt by this man - bit unsettling really, as if it isn't genuine, he just knows how to make his face look like that). He's not what I would consider a traditionally sympathetic character (not that he's unsympathetic, just that he's difficult to relate to). Maybe this odd emotional mood of the book is amplified by the near total absence of a female presence, bar the occasional mention of a mother, or the the "venal or sluttish women" who tempted students of the past. Shiver.
The Game itself is also strangely alien. It is described by Hesse is plausible terms, but it smacks of what we might today consider ivory-tower haughtiness, something which makes Knecht's actions at the end of the book seem quite reasonable and relatable. The concept is fantastic, don't get me wrong, and I would love to see how people have interpreted it (there is enough ambiguity left for it to be interpreted in various ways I think). Having studied a bit of scholarship in the medieval period I love the concept that Music and Mathematics are the two most important balls of yarn from which a cosmic intellectual tapestry is woven (if that sounded too grandiose to you then you might not enjoy it as much).
I think what makes this book uncomfortable is also part of its timeless charm. Hesse speaks to similar tensions in society today (temptation and restraint, academia and politics, order and freedom, diplomacy and seclusion, etc.). What makes the Castalians so emotionally inept or rigid in their ways is also what makes them such an interesting community. What is perhaps less intentional on Hesse's part is the one-dimensional personalities his characters have. Many of the key players in this book are meant to represent static forces in the protagonist's life: the generous mentor, the intellectual sparring partner, the outsider friend, etc, and often stay that way. Even Knecht, the main protagonist of the story, only undergoes significant character development at the end of the book, and even then we're only told about it rather than "shown it". The same counts for his friend Plinio, who arguably undergoes the biggest change, but off-screen so to speak. This character rigidity doesn't help the excitement of the story, and I did sometimes find myself just going through the motions in order to get to the next section because of it - I didn't really worry about missing something important because lots of things happen anecdotally and aren't hugely consequential to the characters' storylines. I think it's a shame, but it doesn't take away from the ambition of the narrative and the author's imagination. The thematic richness of the book really lends well to different interpretations and reader experiences, which is sometimes all you can ask for from a classic work of fiction.
The book certainly feels like it was written in the earlier part of the previous century. Certain elements, like the lack of emotional intelligence of or odd interactions between characters are a little offputting. The way the narrator describes Knecht's friendships sometimes makes the protagonist comes across as emotionally-manipulative (thinking in particular his relationship with Tegularius), not helped by the impression that Knecht often rises above the emotional plane, looking down on everyone else. (For example, when he's being accused by Plinio of causing him emotional harm, and he simply smiles in a way that conveys ultimate friendliness whilst making Plinio doubt whether he could ever have been hurt by this man - bit unsettling really, as if it isn't genuine, he just knows how to make his face look like that). He's not what I would consider a traditionally sympathetic character (not that he's unsympathetic, just that he's difficult to relate to). Maybe this odd emotional mood of the book is amplified by the near total absence of a female presence, bar the occasional mention of a mother, or the the "venal or sluttish women" who tempted students of the past. Shiver.
The Game itself is also strangely alien. It is described by Hesse is plausible terms, but it smacks of what we might today consider ivory-tower haughtiness, something which makes Knecht's actions at the end of the book seem quite reasonable and relatable. The concept is fantastic, don't get me wrong, and I would love to see how people have interpreted it (there is enough ambiguity left for it to be interpreted in various ways I think). Having studied a bit of scholarship in the medieval period I love the concept that Music and Mathematics are the two most important balls of yarn from which a cosmic intellectual tapestry is woven (if that sounded too grandiose to you then you might not enjoy it as much).
I think what makes this book uncomfortable is also part of its timeless charm. Hesse speaks to similar tensions in society today (temptation and restraint, academia and politics, order and freedom, diplomacy and seclusion, etc.). What makes the Castalians so emotionally inept or rigid in their ways is also what makes them such an interesting community. What is perhaps less intentional on Hesse's part is the one-dimensional personalities his characters have. Many of the key players in this book are meant to represent static forces in the protagonist's life: the generous mentor, the intellectual sparring partner, the outsider friend, etc, and often stay that way. Even Knecht, the main protagonist of the story, only undergoes significant character development at the end of the book, and even then we're only told about it rather than "shown it". The same counts for his friend Plinio, who arguably undergoes the biggest change, but off-screen so to speak. This character rigidity doesn't help the excitement of the story, and I did sometimes find myself just going through the motions in order to get to the next section because of it - I didn't really worry about missing something important because lots of things happen anecdotally and aren't hugely consequential to the characters' storylines. I think it's a shame, but it doesn't take away from the ambition of the narrative and the author's imagination. The thematic richness of the book really lends well to different interpretations and reader experiences, which is sometimes all you can ask for from a classic work of fiction.
tea_anne4's review against another edition
challenging
reflective
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.75
spiralnode's review against another edition
challenging
mysterious
slow-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
2.0
Wow, the reviews on here! I'm looking through the first two and wondering... what am I even reading? Are they trying to emulate Hermann Hesse's style and I'm just too fed up to take more of it?
I've now read 'Narcissus and Goldmund', 'Steppenwolf' and 'The Glass Bead Game' and I believe I can safely say that Hermann Hesse is not for me. Funnily enough, I read these books by least popular to most popular, yet my enjoyment was lower and lower. And that is a lot to do with the way they were written, getting more pretentious, wordy, and heavy. I appreciate beautiful writing, but I do not like when words are twisted to no end in order to repeat the same idea. And this is what I encountered in 'The Glass Bead Game'. The plot if very minimal, it's the life of a man named Joseph Knecht, raised in Castalia, a utopia for intellectuals where they play the Glass Bead Game. Joseph spends his life trying to understand its secrets.
And we are never told what exactly this game is, only that it has to do with the arts, especially music, mathematics and philosophy. This brings an air of mystery, of the unknown, yet it never mounts to something satisfying, but acts as a tool that remains non-specific. Over the years dedicated readers have tried to create a game that would connect to the details that do exist in the story, but there is no precise knowledge about it.
In terms of the philosophical ideas present here, there are many, but the truth is that they are a rehash of what was discussed in 'Narcissus and Goldmund' and 'Steppenwolf'. There are references to Indian philosophers, the inner life versus expectations from society, so I didn't think this read was worthwhile.
I've now read 'Narcissus and Goldmund', 'Steppenwolf' and 'The Glass Bead Game' and I believe I can safely say that Hermann Hesse is not for me. Funnily enough, I read these books by least popular to most popular, yet my enjoyment was lower and lower. And that is a lot to do with the way they were written, getting more pretentious, wordy, and heavy. I appreciate beautiful writing, but I do not like when words are twisted to no end in order to repeat the same idea. And this is what I encountered in 'The Glass Bead Game'. The plot if very minimal, it's the life of a man named Joseph Knecht, raised in Castalia, a utopia for intellectuals where they play the Glass Bead Game. Joseph spends his life trying to understand its secrets.
And we are never told what exactly this game is, only that it has to do with the arts, especially music, mathematics and philosophy. This brings an air of mystery, of the unknown, yet it never mounts to something satisfying, but acts as a tool that remains non-specific. Over the years dedicated readers have tried to create a game that would connect to the details that do exist in the story, but there is no precise knowledge about it.
In terms of the philosophical ideas present here, there are many, but the truth is that they are a rehash of what was discussed in 'Narcissus and Goldmund' and 'Steppenwolf'. There are references to Indian philosophers, the inner life versus expectations from society, so I didn't think this read was worthwhile.
joh17's review against another edition
challenging
mysterious
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
4.0
It’s a long book, with maybe the 1st 20% or so was quite hard going, setting everything up about Knecht and his world, but at a very stately pace. After that, the conflict starts to come into focus and it becomes more compelling as it goes on. Another spirit /mind vs material/body Hesse book. Written during Nazism, a critique of the ivory tower and elitism, or a longing for it?
ein's review against another edition
4.0
Сложно, длинно (абзацы по две страницы сражают наповал), местами нудно, но умно.
marcomywords's review against another edition
1.0
This is it. The worst book ever.
Now, I have to concede that this book is uniquely brillant at what it's trying to do.
But what it's trying to do was never a good idea.
It's a book entirely devoid of stakes and action, and it is obviously the point, the mastery of its writing lies here. That's what you're supposed to enjoy, and marvel at.
One could even say it has no character, since the main character is pretty much a blank slate, if you don't coun't being a boring indecisive wuss as a character trait. The glass bead game itself, as a game and spiritual practise and supposedly the center of the non existing plot, is never described clearly to you. So you have no idea what it looks like, or what a marble really mean. You endlessly get told how subtle and complex, and refined it is though. It's the longest book about nothing you'll ever read.
If this intrigues and excites you, by all means, go ahead and read it. But don't get the mistake to think it's just "slow paced" like the Search of Lost Time, for example. I mean it when I say the Glass Bead Game is 500+ pages of nothingness. Which again, is a performance. But not one I enjoyed at all.
Now, I have to concede that this book is uniquely brillant at what it's trying to do.
But what it's trying to do was never a good idea.
It's a book entirely devoid of stakes and action, and it is obviously the point, the mastery of its writing lies here. That's what you're supposed to enjoy, and marvel at.
One could even say it has no character, since the main character is pretty much a blank slate, if you don't coun't being a boring indecisive wuss as a character trait. The glass bead game itself, as a game and spiritual practise and supposedly the center of the non existing plot, is never described clearly to you. So you have no idea what it looks like, or what a marble really mean. You endlessly get told how subtle and complex, and refined it is though. It's the longest book about nothing you'll ever read.
If this intrigues and excites you, by all means, go ahead and read it. But don't get the mistake to think it's just "slow paced" like the Search of Lost Time, for example. I mean it when I say the Glass Bead Game is 500+ pages of nothingness. Which again, is a performance. But not one I enjoyed at all.