The first novel focuses on the misadventures of Arthur Norris, a character based upon an unscrupulous businessman named Gerald Hamilton whom Isherwood met in the Weimar Republic.[1] The second novel recounts the travails of various Berlin denizens whose lives are directly or indirectly affected by the Nazis' rise to power. Isherwood based the character of Sally Bowles on teenage cabaret singer Jean Ross, Isherwood's intimate friend during his sojourn in Berlin.[2]
The omnibus inspired the John Van Druten play I Am a Camera, which in turn inspired the film I Am a Camera as well as the famous stage musical and film versions of Cabaret.[3] Sally Bowles is the best-known character from The Berlin Stories, and she became the focus of the Cabaretmusical and film, although she is merely the main character of a single short story in Goodbye to Berlin.[2] In later years, Ross regretted her public association with the naïve and apolitical character of Sally Bowles.[4]
Although The Berlin Stories secured Isherwood's reputation, the author denounced his writings after the collection's publication.[5] In a 1956 essay, Isherwood lamented that he misunderstood the suffering of the people which he depicted.[5] He regretted depicting many persons as "monsters" and noted they were "ordinary human beings prosaically engaged in getting their living through illegal methods. The only genuine monster was the young foreigner who passed gaily through these scenes of desolation, misinterpreting them to suit his childish fantasy."[5] In 2010, Time chose the collection as one of the 100 Best English-language works of the 20th century.[6]
The events depicted in The Berlin Stories are derived from Isherwood's colorful escapades in the Weimar Republic.[7][8] In 1929, Isherwood moved to Weimar Berlin during the twilight of the Golden Twenties. At the time, Isherwood was an apprentice novelist who was politically indifferent[a] about the rise of fascism in Germany.[11][12] He had relocated to Berlin to pursue a hedonistic life as an openly gay man and to enjoy the city's orgiastic Jazz Age cabarets.[13][14] He socialized with a blithe coterie of gay writers that included Stephen Spender, Paul Bowles,[b] and W.H. Auden.[17]
In Berlin during Winter 1930–1931, Isherwood met Gerald Hamilton, an unscrupulous businessman who inspired the fictional character of Arthur Norris.[1] Like the fictional character which he inspired, Hamilton was regarded by his fellow British expatriates to be a "nefarious, amoral, sociopathic, manipulative conniver" who "did not hesitate to use or abuse friends and enemies alike."[1] Isherwood later alleged that Hamilton likely stole a large sum of money from him when the author asked Hamilton to bribe officials in order rescue his gay lover Heinz Neddermeyer from persecution by the Nazi regime due to his sexual orientation.[1]
Jean [Ross] was more essentially British than Sally [Bowles]; she grumbled like a true Englishwoman, with her 'grin-and-bear-it' grin. And she was tougher. She never struck Christopher as being sentimental or the least bit sorry for herself. Like Sally, she boasted continually about her lovers. In those days, Christopher felt certain that she was exaggerating...
Due to his limited finances, Isherwood shared modest lodgings in Berlin with 19-year-old Jean Ross,[c] a British cabaret singer who inspired the fictional character of Sally Bowles.[20] An aspiring film actress, Ross earned her living as a chanteuse in lesbian bars and second-rate cabarets.[20][21] Isherwood visited these nightclubs to hear Ross sing,[22] and he later described her voice as poor yet effective: "She had a surprisingly deep, husky voice. She sang badly,[d] without any expression, her hands hanging down at her sides—yet her performance was, in its own way, effective because of her startling appearance and her air of not caring a curse of what people thought of her."[24] Likewise, Stephen Spender recalled that Ross' singing ability was quite underwhelming: "In my mind's eye, I can see her now in some dingy bar standing on a platform and singing so inaudibly that I could not hear her from the back of the room where I was discreetly seated."[25]
While rooming together with Isherwood at Nollendorfstrasse 17 in Schöneberg,[26] Ross became pregnant.[27][28] She assumed the father of the child to be jazz pianist—and later actor—Peter van Eyck.[28] Following Eyck's abandonment of Ross, she underwent an abortion facilitated by Isherwood.[29][30] Ross nearly died as a result of the botched abortion.[23][28] While Ross recovered from the abortion procedure, the political situation rapidly deteriorated in Germany.[31]
As Berlin's daily scenes featured "poverty, unemployment, political demonstrations and street fighting between the forces of the extreme left and the extreme right,"[32] Ross, Spender, and other foreigners realized that they must leave the country.[31][33] "There was a sensation of doom to be felt in the Berlin streets," Spender recalled.[31] In contrast to Spender's feeling of impending doom, Isherwood complained "somewhat unpresciently to Spender that situation in Germany seemed 'very dull.'"[34]
However, following Adolf Hitler's ascension as Chancellor of Germany on 30 January 1933, Isherwood finally noticed the sinister developments occurring within the country,[23] and he commented to a friend: "Adolf, with his rectangular black moustache, has come to stay and brought all his friends.... Nazis are to be enrolled as 'auxiliary police,' which means that one must now not only be murdered but that it is illegal to offer any resistance."[23] Two weeks after Hitler passed the Enabling Act which cemented his power, Isherwood fled Germany and returned to England on 5 April 1933.[35]
Following Isherwood's departure from Germany and the enstatement of the Hitler's brutalitarian regime, most of Berlin's seedy cabarets were shuttered by the Nazis,[e] and many of Isherwood's cabaret friends would later flee abroad or perish in concentration camps.[37] These factual events served as the genesis for Isherwood's Berlin tales. His 1939 novel Goodbye to Berlin was later adapted by playwright John Van Druten into the 1951 Broadway play I Am a Camera and, ultimately, the 1966 Cabaret musical.[38]
In another moment, when I had drunk exactly the right amount of champagne, I should have a vision. I took a sip. And now, with extreme clarity, without passion or malice, I saw what Life really is. It had something, I remember, to do with the revolving sunshade. Yes, I murmured to myself, let them dance. They are dancing, I am glad.
While traveling on a train from the Netherlands to Germany, British expatriate William Bradshaw meets a nervous-looking man named Arthur Norris. As they approach the frontier, Bradshaw strikes up a conversation with Norris, who wears an ill-fitting wig and carries a forged passport. After crossing the frontier, Norris invites Bradshaw to dinner and the two become friends. In Berlin, they see each other frequently. Over time, several oddities of Norris's personal life are revealed, one of which is that he is a masochist. Another is that he is a communist, which is dangerous in Hitler-era Germany. Other aspects of Norris's personal life remain mysterious. He seems to run a business with an assistant Schmidt. Norris gets into more and more straitened circumstances and has to leave Berlin.
Norris subsequently returns with his fortunes restored and apparently conducting communication with an unknown Frenchwoman called Margot. Schmidt reappears and tries to blackmail Norris. Norris uses Bradshaw as a decoy to get an aristocratic friend, Baron Pregnitz, to take a holiday in Switzerland and meet "Margot" under the guise of a Dutchman. Bradshaw is urgently recalled by Ludwig Bayer one of the leaders of the communist groups, who explains that Norris was spying for the French and both his group and the police know about it. Bradshaw observes they are being followed by the police and persuades Norris to leave Germany. After the Reichstag fire, the Nazis eliminate Bayer and most of Norris's comrades. Bradshaw returns to England where he receives intermittent postcards from Norris, who has fled Berlin, pursued by Schmidt. The novel's last words are drawn from a postcard that Norris sends to Bradshaw from Rio de Janeiro: "What have I done to deserve all this?"
I thought of Natalia: she has escaped — none too soon, perhaps. However often the decision may be delayed, all these people are ultimately doomed. This evening is the dress-rehearsal of a disaster. It is like the last night of an epoch.
After relocating to Berlin in order to work on his novel, an English writer explores the decadent nightlife of the city and becomes enmeshed in the colorful lives of a diverse array of Berlin denizens. He acquires lodgings in a boarding house owned by Fräulein Schroeder, a caring landlady. At the boarding house, he interacts the other tenants including the frank prostitute Fräulein Kost who has a Japanese patron and the divinely decadent Sally Bowles, a young Englishwoman who sings in a seedy cabaret. The narrator and Bowles soon become roommates, and he learns a great deal about her sex life as well as her coterie of "marvelous" lovers.
When Sally becomes pregnant after a brief fling, the narrator facilitates an abortion, and the painful incident draws them closer together. When he visits Sally at the hospital, the hospital staff assume he is Sally's impregnator and despise him for forcing her to have an abortion. Later during the summer, he resides at a beach house near the Baltic Sea with Peter and Otto, a gay couple who are struggling with their sexual identities. Jealous of Otto's endless flirtations with other men, Peter departs for England, and the narrator returns to Berlin to live with Otto's family, the Nowaks. During this time, he meets teenage Natalie Landauer whose Jewish family owns a department store. After the Nazis smash the windows of several Jewish shops, he learns that Natalie's cousin Bernhard is dead, likely murdered by the Nazis. Ultimately, the narrator is forced to leave Germany as the Nazis continue their ascent to power, and he fears that many of his beloved Berlin acquaintances are now dead.
Although his stories about the nightlife of Weimar Berlin became commercially successful and secured his reputation as an author, Isherwood later denounced his writings.[5] In a 1956 essay, Isherwood lamented that he had not understood the suffering of the people which he depicted.[5]
Isherwood stated that 1930s Berlin had been "a real city in which human beings were suffering the miseries of political violence and near-starvation. The 'wickedness' of Berlin's night-life was of the most pitiful kind; the kisses and embraces, as always, had price-tags attached to them.... As for the 'monsters', they were quite ordinary human beings prosaically engaged in getting their living through illegal methods. The only genuine monster was the young foreigner who passed gaily through these scenes of desolation, misinterpreting them to suit his childish fantasy."[5]
^Jean Ross later claimed the political indifference of the Sally Bowles character more closely resembled Isherwood and his hedonistic friends,[9] many of whom "fluttered around town exclaiming how sexy the storm troopers looked in their uniforms."[10]
^Paul Bowles was an American writer who wrote the novel The Sheltering Sky.[15] Isherwood appropriated his surname for the character of Sally Bowles.[16]
^Isherwood claimed that he and Ross "had a relationship which was asexual but more truly intimate than the relationships between Sally and her various partners in the novel, the plays and the films."[19]
^Peter Parker notes that Ross "claimed that Isherwood 'grossly underrated' her singing abilities, but her family agreed that this was one aspect of Sally Bowles that Isherwood got absolutely right".[23]
^Allen 2004: "The real Isherwood... [was] the least political of the so-called Auden group, [and] Isherwood was always guided by his personal motivations rather than by abstract ideas."
^Stansky 1976: Isherwood was a "self-indulgent upper middle-class foreign tourist" who was "a good deal less dedicated to political passion than the legend has had it."
^Moss 1979: Isherwood frequented "the boy-bars in Berlin in the late years of the Weimar Republic.... [He] discovered a world utterly different from the repressive English one he disliked, and with it, the excitements of sex and new subject matter."
^Isherwood 1976, Chapter 1: "To Christopher, Berlin meant Boys... Christopher was suffering from an inhibition, then not unusual among upper-class homosexuals; he couldn't relax sexually with a member of his own class or nation. He needed a working-class foreigner. He had become clearly aware of this when he went to Germany in May 1928."
^Lehmann 1987, p. 18: "Jean Ross, whom [Isherwood] had met in Berlin as one of his fellow-lodgers in the Nollendorfstrasse for a time, when she was earning her living as a (not very remarkable) singer in a second-rate cabaret."
^ abcParker 2004: "An affair with a Jewish musician called Götz von Eick, who subsequently became an actor in Hollywood under the name Peter van Eyck, led to her becoming pregnant, and she nearly died after an abortion."
^Parker 2005, p. 221: "Isherwood recognized that he could not remain in Berlin much longer and on April 5, the day measures were brought in to ban Jews from the teaching professions and the Civil Service, he arrived back in London, bringing with him many of his possessions."
Allen, Brooke (19 December 2004). "Isherwood: The Uses of Narcissism". The New York Times. New York City. Retrieved 11 February 2022. The real Isherwood, though not without many sympathetic qualities, was petty, selfish and supremely egotistical. The least political of the so-called Auden group, Isherwood was always guided by his personal motivations rather than by abstract ideas.
Croft, Andy (December 1989). "Forward to the 1930s: The Literary Politics of Anamnesis". In Shaw, Christopher; Chase, Malcolm (eds.). The Imagined Past: History and Nostalgia. Manchester: Manchester University Press. p. 156. ISBN0-7190-2875-2 – via Google Books. This side of Jean Ross' life is mentioned in John Sommerfield's The Imprinted (1977), where she appears as 'Jean Reynolds.' In this novel, she has been immortalised as Lucy Rivers in a novel by L.P. Davies titled A Woman of the Thirties. 'I realized that A Woman of the Thirties had been a misfortune for her; she had been fixed by the book, turned into a fictional character whose story ended in 1939.' She has an affair in The Imprinted with 'John Rackstraw' (based on John Cornford, a young Cambridge Communist with whom Sommerfield fought in Spain).
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