Anyone who reads Thomas Mann's "The Magic Mountain" is bound to experience suffering. The novel, published by Dar Al-Jamal and translated by Ali Abdul Amir Saleh, is nearly a thousand pages long and not only challenges the reader's endurance and patience. The tragic deaths of its characters, and their "real" and gradual decline, also represent a systematic emptying of the specific space and the organized abstraction of the ideologies spoken in the work. In other words, it returns the reader to the beginning, to a primitive void, after it was filled with intellectual and ideological discussions and clashes, political and religious, in addition to the scientific, medical, and chemical references that appear in the work. When Thomas Mann, influenced by Schopenhauer and Nietzsche, wrote this work, which carries a tremendous amount of melancholy and the sudden and shocking presence of death, despite his efforts to prepare the reader before the shock of the moment of absence, he was writing in his "present" era. His time, whose steps were groping the threshold of history shortly after World War I.