My ideal of conversation that includes wide representation of perspectives, informed by the consensus view of current experts, pursued with an attempt to find a position with which all can live, brings the expert and the public dimensions together.

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

I found a deep kinship between Mahler's recurrent attempts to confront all sides of life and to affirm himself in the face of his own finitude, and Aschenbach's dedication to persevere in the literary evocation of beauty. Exploring this kinship led me to reflect on many of Mahler's songs and symphonies - and particularly his great masterpiece, Das Lied von der Erde. The end result was a way of reading Mann that I hadn't originally anticipated at all.

Presenting Aschenbach as a composer - based on Mahler - leads to some dreadful scenes (especially those in which Aschenbach is berated by his student), and it surely distorts the character Mann created. Yet, we know that Mann's novella was based on a holiday in Venice he took with his wife and brother, and that while he was there he followed the reports in the German newspapers, describing the dying Mahler's progress as he returned from New York to Vienna.

The balance between literature and philosophy in Schopenhauer and Nietzsche is different from that struck in the novella, but, as Mann clearly pointed out in his writings about both thinkers, both modes are present.

In the end, we learn about the most basic philosophical questions - like "How to live?" - from a broad mixture of sources, including literature and philosophy, history and anthropology. These sources can guide our reflections on our own experiences, as we explore and reconsider. Mann contributed to such explorations in a distinctive way, and I hope my book brings that out.

In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen.