My Shelf Life column for the website The Voice of Fashion looks at literature through the prism of clothes.
This month, it's about people living on the edge in a city turning Nazi: Germany at the end of the Weimar era in Christopher Isherwood's much-adapted Goodbye to Berlin.
“I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed.”
So wrote Christopher Isherwood in 'A Berlin Diary (Autumn 1930)' -- the first of the six interlinked stories that made up his 1935 book Goodbye to Berlin, a brilliant document of a city turning Nazi, a world changing shape before one's eyes.
Isherwood was both stylist and storyteller, gifted with an authorial voice that convinced you that things happened exactly as he wrote them, even as he categorically forbade readers from assuming that his sparkling characters were “libellously exact portraits of living persons”. Whether Sally Bowles and her many friends and lovers ever walked the decadent streets of 1930s Berlin, Isherwood's “camera” kept them running in readers' minds long after. Over the next several decades, as Goodbye to Berlin was adapted first into a play called I Am A Camera, then into a Broadway musical, and later the brilliant 1972 Bob Fosse film Cabaret, they shapeshifted, acquiring new nationalities, sometimes new names and new emotional lives.
Sally Bowles, for instance, went from being the 19-year-old daughter of a Lancashire mill owner who sings at an arty bar called The Lady Windermere to an older American cabaret dancer with daddy issues (the father who's “practically an ambassador” never actually shows up). Sally's rich lover, who in the original story was an American called Clive became, in Bob Fosse's film, a married German called Maximilian. The book's narrator, Chris, became Brian in the film, his relationship with Sally going from platonic to not.
Among the things that
stayed constant, though, was the crucial role of clothes. In what might
now be seen as a predictable trait for a gay man, Isherwood paid
attention to what people wore. And his characters dressed well for
members of a 1930s demimonde. Or perhaps precisely for that reason. So
we meet Sally first “in black silk, with a cape over her shoulders and a
little cap like a pageboy's stuck jauntily on one side of her head”:
befittingly theatrical, aided by cherry lips and emerald green nail
polish. Meanwhile Sally and Chris's common friend Fritz Wendel has a
“usual coffee party costume” that evokes summer even when it is cold and
grey: “thick white yachting sweater and very light blue flannel
trousers”.
Clothes are the first external sign of the self in this world – and looking respectable
can take you a long way. For Frl. Schroeder, the landlady of Chris's
lodging house, that means having her “flowered dressing gown pinned
ingeniously together, so that not an inch of bodice or petticoat is to
be seen”. For Chris, it is keeping his overcoat on because it hides the
stain on his trousers. In Cabaret, Fritz surreptitiously pulls his coat-sleeve down to cover his frayed cuffs.
More than most people, Sally Bowles understands the value of looking fine. She constantly performs an exaggerated femininity – at the club, but also in life. And yet under all the high drama lies a childish make-believe, and you realise that her primary performance is for herself. She paints her toenails because it makes her feel sensual. During one of her frequent break-ups, she and Chris spend a lot of time sitting on benches. People stare at Sally “in her canary yellow beret and shabby fur coat, like the skin of a mangy old dog”, while she only thrills to the thought of “what they'd say if they knew that we two old people were to be the most marvelous novelist and the greatest actress in the world.”
When she takes up with Clive, Sally accepts as
gifts four pairs of shoes and two hats. And when Clive wants to get
Chris a gift, she persuades him that six silk shirts would be better
than a gold cigarette case. “Yours are in such a state,” she tells Chris
with her usual cheerful brutality. In the book, these items of clothing
are all that the two supposed gold-diggers get out of Clive – and 50
marks to be saved towards new nightdresses. The film makes everything
more outré. Sally's rich lover Max actually gives the narrator that gold
cigarette case – and lends him fancy clothes.
In Isherwood's last piece in the book, an ex-lodger called Fraulein Kost returns to visit the landlady in a fur coat and genuine snakeskin shoes, gaining Frl. Schroeder's grudging but real respect, despite her knowledge of her profession: “Well, well, I bet she earned them!... That's the one kind of business that still goes well, nowadays...”. In the film, it is Sally who acquires a new fur coat from Max – only to have to later sell it for an abortion.
Meanwhile, beyond Isherwood's charmed circle, other people are changing their clothes. Groups of young men in brown shirts and armed men in S.A. black uniforms have begun to attack solitary passers-by perceived as Communists. In one description that should resonate perfectly with present-day India, a young man is lynched and his eye poked out while dozens of people look on, and heavily armed policemen, “hands on their revolver belts...magnificently disregard the whole affair”.
On the eve of his return to England, the winter of 1933, Isherwood hears Frl. Schroeder talking reverently of 'Der Fuhrer' to the porter's wife. She voted communist last November, but she would probably hotly deny it. She is merely acclimatising herself, writes Isherwood, “like an animal which changes its coat for the winter.” Isherwood doesn't say it, but those animals are preparing for a long hibernation.
Published in The Voice of Fashion, 15 February 2020.
This month, it's about people living on the edge in a city turning Nazi: Germany at the end of the Weimar era in Christopher Isherwood's much-adapted Goodbye to Berlin.
“I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed.”
So wrote Christopher Isherwood in 'A Berlin Diary (Autumn 1930)' -- the first of the six interlinked stories that made up his 1935 book Goodbye to Berlin, a brilliant document of a city turning Nazi, a world changing shape before one's eyes.
Isherwood was both stylist and storyteller, gifted with an authorial voice that convinced you that things happened exactly as he wrote them, even as he categorically forbade readers from assuming that his sparkling characters were “libellously exact portraits of living persons”. Whether Sally Bowles and her many friends and lovers ever walked the decadent streets of 1930s Berlin, Isherwood's “camera” kept them running in readers' minds long after. Over the next several decades, as Goodbye to Berlin was adapted first into a play called I Am A Camera, then into a Broadway musical, and later the brilliant 1972 Bob Fosse film Cabaret, they shapeshifted, acquiring new nationalities, sometimes new names and new emotional lives.
Sally Bowles, for instance, went from being the 19-year-old daughter of a Lancashire mill owner who sings at an arty bar called The Lady Windermere to an older American cabaret dancer with daddy issues (the father who's “practically an ambassador” never actually shows up). Sally's rich lover, who in the original story was an American called Clive became, in Bob Fosse's film, a married German called Maximilian. The book's narrator, Chris, became Brian in the film, his relationship with Sally going from platonic to not.
 |
| Christopher Isherwood (centre) with the poets WH Auden (left) and Stephen Spender (right) |
More than most people, Sally Bowles understands the value of looking fine. She constantly performs an exaggerated femininity – at the club, but also in life. And yet under all the high drama lies a childish make-believe, and you realise that her primary performance is for herself. She paints her toenails because it makes her feel sensual. During one of her frequent break-ups, she and Chris spend a lot of time sitting on benches. People stare at Sally “in her canary yellow beret and shabby fur coat, like the skin of a mangy old dog”, while she only thrills to the thought of “what they'd say if they knew that we two old people were to be the most marvelous novelist and the greatest actress in the world.”
 |
| Michael York as the English protagonist Brian with Liza Minnelli as Sally Bowles in Bob Fosse's Cabaret (1972) |
In Isherwood's last piece in the book, an ex-lodger called Fraulein Kost returns to visit the landlady in a fur coat and genuine snakeskin shoes, gaining Frl. Schroeder's grudging but real respect, despite her knowledge of her profession: “Well, well, I bet she earned them!... That's the one kind of business that still goes well, nowadays...”. In the film, it is Sally who acquires a new fur coat from Max – only to have to later sell it for an abortion.
Meanwhile, beyond Isherwood's charmed circle, other people are changing their clothes. Groups of young men in brown shirts and armed men in S.A. black uniforms have begun to attack solitary passers-by perceived as Communists. In one description that should resonate perfectly with present-day India, a young man is lynched and his eye poked out while dozens of people look on, and heavily armed policemen, “hands on their revolver belts...magnificently disregard the whole affair”.
On the eve of his return to England, the winter of 1933, Isherwood hears Frl. Schroeder talking reverently of 'Der Fuhrer' to the porter's wife. She voted communist last November, but she would probably hotly deny it. She is merely acclimatising herself, writes Isherwood, “like an animal which changes its coat for the winter.” Isherwood doesn't say it, but those animals are preparing for a long hibernation.
Published in The Voice of Fashion, 15 February 2020.
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