A Peritextual Study of the Decadent Cover Art Choices for Arthur Schnitzler’s The Road into the Open

In George Eliot’s The Mill on the Floss (1860), we are cautioned not to judge a book by its cover. Yet, the marketing team at every publisher knows that we, the audience, inevitably do just that. In the case of Arthur Schnitzler’s The Road Into the Open (1908), various editions have featured paintings or drawings by contemporary Austrian artists, including Max Kurzweil, Gustav Klimt, and Egon Schiele, as the cover art. Schnitzler’s novel initially emerges in Pre-World-War-I Austria, a society grappling with political instability, fears about moral decline, and a preoccupation with neuroses. The anxious society that produced Schnitzler, Kurzweil, Klimt, and Schiele has been considered a representation par excellence of fin-de-siècle decadence. Following Gerard Genette’s Paratexts, I inquire as to the effect(s) of cover art and the competing visions of the novel they represent. This study responds to the following questions. How have publishers used or misused decadent imagery in (re)productions of Schnitzler’s novel? What meaning can be made from the use of the works by Kurzweil, Klimt, and Schiele as cover art? What contribution does each work make to our understanding of the Austria in Schnitzler’s novel? How does the reception of the author complement or compete with the reception of each painter?