Published by Gay History –
A still image from the 1919 German film Anders als die Andern (Different from the Others) depicting a concert violinist who killed himself because of adverse publicity about his homosexual orientation | 15436
Historian Samuel Clowes Huneke has discovered that gay suicide is a historical phenomenon, with a distinct and varied past. Huneke is the first scholar in the field of modern German history to examine the relationship between suicide and gay identity. He is also the first to historicize gay suicide and trace the ways in which it pervades the late 19th and early 20th centuries.
“A striking trend of gay suicide evolved in German culture in the late 19th and early 20th centuries,” he said. Through a close examination of German suicide notes, letters, diaries, medical records, gay literary magazines and novels, Huneke has identified clear connections between the suicide trope and the development of gay identity in modern Germany.
“In the late 1860s, just at the moment when the earliest texts on homosexuality began to appear, German doctors, activists, and writers also began to discuss and depict gay suicide with increasing frequency.” This phenomenon of linking homosexuality with suicide sparked the beginning of what he sees as a trend in poetry, plays and novels in which suicide is a recurring theme. This group “pointed to a handful of gay suicides in order to claim that there was an epidemic of gay men killing themselves because of anti-sodomy laws and fear of exposure.”
Klaus Mann, the first prominent German gay novelist in Western history, was the son of writer Thomas Mann. Klaus Mann published in the 1920s, and his work treated homosexuality openly. The suicide of gay characters recurs in most of Mann’s books. In his novel Treffpunkt im Unendlichen (Meeting-Point at Infinity, 1932), the unrequited love of a gay man for a heterosexual man leads the gay character to take his own life. Mann chose to make the suicide appear romantic and gentle: The gay man committed suicide in the straight man’s bed, in what Mann describes as a wedding-night scene. “It’s seen as a romantic fulfillment of life … instead of depicting something like suicide as a brutal, tragic act, it is depicted as a grand capstone to a miserable life. As if the best thing this character has done with his life is to kill himself.”
Klaus Mann himself committed suicide in a hotel in Cannes, in 1949.