Unknown - Isherwood, Christopher (The Berlin Stories - The Last of Mr Norris - Goodbye to Berlin) (TXT)

CHRISTOPHER

ISHERWOOD

THE BERLIN STORIES

THE LAST OF MR. NORRIS GOODBYE TO BERLIN

WITH A PREFACE BY THE AUTHOR

A New Directions Paperbook

COPYRIGHT 1935 BY CHRISTOPHER ISHERWOOD. COPYRIGHT 1945, 1954 BY NEW DIRECTIONS. LIBRARY OF CONGRESS CATALOG CARD NUMBER: 55-2508. FIRST PUBLISHED AS NEW DIRECTIONS PAPER-BOOK 134 IN 1963. THE COVER PHOTOGRAPH BY DOLORES GUD7.JN. A SCENE FROM THE LIVING THEATRE’S 1960 PRODUCTION OF

bertolt brecht’s In the Jungle of Cities, appears by courtesy

OF THEATRE ARTS MAGAZINE. MANUFACTURED IN THE UNITED STATES OF AMERICA. NEW DIRECTIONS BOOKS ARE PUBLISHED FOR JAMES LAUGHLIN BY NEW DIRECTIONS PUBLISHING CORPORATION, 333 SIXTH AVENUE, NEW YORK 10014.

SECOND PRINTING

ABOUT THIS BOOK

From 1929 to 1933,1 lived almost continuously in Berlin, with only occasional visits to other parts of Germany and to England. Already, during that time, I had made up my mind that I would one day write about the people I’d met and the experiences I was having. So I kept a detailed diary, which in due course provided raw material for all my Berlin stories.

My first idea, immediately after leaving Berlin in 1933, was to transform this material into one huge tightly constructed melodramatic novel, in the manner of Balzac. I wanted to call it The Lost. This title, or rather its German equivalent, Die Verlorenen, seemed to me wonderfully ominous. I stretched it to mean not only The Astray and Tne Doomed—referring tragically to the political events in Germany and our epoch —but also “The Lost” in quotation marks—referring satirically to those individuals whom respectable society shuns in horror: an Arthur Norris, a von Pregnitz, a Sally Bowles.

Maybe Balzac himself could have devised a plot-structure which would plausibly contain the mob of characters I wanted to introduce to my readers. The task was quite beyond my powers. What I actually produced was an absurd jumble of subplots and coincidences which defeated me whenever I tried to straighten it out on paper. Thank Goodness I never did write The Lost!

Just the same, all of these characters had grown together, like a nest of Siamese twins, in my head, and I could only separate them by the most delicate operations. There was a morning of acute nervous tension throughout which I paced up and down the roof of an hotel in the Canary Islands, shaping the plot of Mr. Norris and discarding everybody and

everything that didn’t belong in it. This was in May, 1934. A few days later, I set to work on the novel, sitting in the garden of a pension at Orotava on Tenerif e. The pension was run by a happy-go-lucky Englishman, who used to laugh at my industry and tell me I ought to go swimming, while I was still young. “After all, old boy, I mean to say, will it matter a hundred years from now if you wrote that yarn or not?” Relentlessly, at four o’clock every afternoon, he would start playing records at full blast through the loudspeaker on the patio, hoping to attract wandering tourists in for a drink. They seldom came, but the jazz tunes always put an end to my day’s work. On August 12,1 noted in my diary: “Finished Mr. Norris. The gramophone keeps repeating a statement about Life with which I do not agree.” I remember how I raced through that last chapter with one eye on my watch, determined to get finished before the racket started.

Mr. Norris was published in 1935. In England, the book bore its correct name: Mr. Norris Changes Trains; but the American publisher, William Morrow, found this obscure— so I changed it to The Last of Mr. Norris, a title which should be followed by a very faint question mark.

Next I wrote the story of Sally Bowles, and it appeared as a small separate volume in 1937. Three other pieces—The Nowaks, The Landauers and Berlin Diary: Autumn 1930— were published in issues of John Lehmann’s New Writing. Finally, the complete Goodbye to Berlin was published in 1939.

Goodbye indeed! During those years that followed, the Berlin I’d known seemed as dead as ancient Carthage. But 1945 came at last, and V-E Day. That summer, New Directions was getting ready to republish Mr. Norris and Goodbye to Berlin in one volume, The Berlin Stones. While I was correcting the proofs, a letter, the first in seven years, reached me from Heinz, my closest “enemy” friend, telling how he had fought in Russia and later been taken prisoner by the Americans. After the fighting was over, the authorities at his POW camp had more or less allowed him, and a number of others,

to run away, and had later forwarded his mail to his home address, marked “Escaped”! As I read and reread this letter, the feeling began to work through me painfully and joyfully, like blood through a numbed leg, that Berlin—or, at any rate, the Berliners—still existed, after all.

Then, in the summer of 1951, John van Druten decided that he could make a play out of Sally Bowles. His adaptation, I Am a Camera, was written with his usual skilled speed, and was ready for production that fall. When I arrived in New York to sit in on rehearsals, I had first to go to a studio and be photographed, for publicity, with our leading lady, Julie Harris. 1 had never met Miss Harris before. I hadn’t even seen her famous performance in The Member of the Wedding.

Now, out of the dressing-room, came a slim sparkling-eyed girl in an absurdly tart-like black satin dress, with a little cap stuck jauntily on her pale flame-colored hair, and a silly naughty giggle. This was Sally Bowles in person. Miss Harris was more essentially Sally Bowles than the Sally of my book, and much more like Sally than the real girl who long ago gave me the idea for my character.

I felt half hypnotized by the strangeness of the situation. “This is terribly sad,” I said to her. “You’ve stayed the same age while I’ve gotten twenty years older.” We exchanged scraps of dialogue from the play, ad-libbed new lines, laughed wildly, hammed and hugged each other, while the photographer’s camera clicked. I couldn’t take my eyes off ner. I was dumbfounded, infatuated. Who was she? What was she? How much was there in her of Miss Harris, how much of van Druten, how much of the girl I used to know in Berlin, how much of myself? It was no longer possible to say. I only knew that she was lovable in a way that no human could ever quite be, since, being a creature of art, she had been created out of pure love.

As I watched those rehearsals, I used to think a good deal —sometimes comically, sometimes sentimentally—about the relation of art to life. In writing Goodbye to Berlin, I de—

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stroyed a certain portion of my real past. I did this deliberately, because I preferred the simplified, more creditable, more exciting fictitious past which I’d created to take its place. Indeed, it had now become hard for me to remember just how things really had happened. I only knew how I would like them to have happened—that is to say, how I had made them happen in my stories. And so, gradually, the real past had disappeared, along with the real Christopher Isherwood of twenty years ago. Only the Christopher Isherwood of the stories remained.

I’d never thought about this situation before, because it had never seemed to have any particular significance. If my past was artificial, at least it had been entirely my own— until now. Now John, Julie and the rest of them had suddenly swooped down on it, and carried bits of it away with them for their artistic use. Watching my past being thus reinterpreted, revised and transformed by all these talented people upon the stage, I said to myself: “I am no longer an individual. I am a collaboration. I am in the public domain.”

After the play had opened successfully on Broadway, I went to England. This was my third visit since the end of the war; and this time, I knew, I must go over to Germany as well. It was a definite obligation—but how I dreaded it! I dreaded meeting the people I’d known and facing the fact that there was practically nothing I could do to help them. I dreaded seeing familiar places in ruins. Though my mind was made up, my unconscious still protested: I developed symptoms of duodenal ulcer, and nearly broke my leg on a staircase. Throughout the flight from London, I expected a crash, and was almost disappointed when we landed safe at Tempelhofer Feld in a mild snowstorm—“a psychosomatic snowstorm, obviously,” one of my friends commented, later.