The Berlin Stories Christopher Isherwood

Notes

1. ^ 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]
2. ^ 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]
3. ^ 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]
4. ^ 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]
5. ^ Many Berlin cabarets located along the Kurfürstendamm avenue, an entertainment-vice district, had been marked for future destruction by Joseph Goebbels as early as 1928.[36]

Citations

1. ^ a b c d Izzo 2001, pp. 115–116.
2. ^ a b Izzo 2005, p. 144.
3. ^ Lehmann 1987, pp. 78–79; Izzo 2001, pp. 97, 144.
4. ^ Croft 1989, p. 156; Firchow 2008, p. 120.
5. ^ a b c d e f Fryer 1977, pp. 146–47.
6. ^ Grossman 2010.
7. ^ Garebian 2011, p. 3; Gray 2016.
8. ^ Bloom & Vlastnik 2004, p. 46.
9. ^ Firchow 2008, p. 120; Caudwell 1986, pp. 28–29.
10. ^ Isherwood 1976, pp. 124–125; Doyle 2013.
11. ^ 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."
12. ^ 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."
13. ^ 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."
14. ^ 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."
15. ^ Garebian 2011, pp. 6–7.
16. ^ Izzo 2005, p. 144: "Isherwood himself admitted that he named the character of [Sally Bowles] for Paul Bowles, whose 'looks' he liked."
17. ^ Garebian 2011, pp. 6–7; Spender 1977; Spender 1966, pp. 125–130.
18. ^ Isherwood 1976, pp. 60–61.
19. ^ Isherwood 1976, p. 63.
20. ^ a b Parker 2004; Parker 2005, p. 205.
21. ^ 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."
22. ^ Lehmann 1987, p. 18.
23. ^ a b c d Parker 2005, p. 220.
24. ^ Isherwood 1963, p. 25, Goodbye to Berlin.
25. ^ Spender 1993, p. 74.
26. ^ Isherwood 1976, p. 63: "Jean moved into a room in the Nollendorfstrasse flat after she met Christopher, early in 1931."
27. ^ Isherwood 1976, pp. 244–245.
28. ^ a b c Parker 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."
29. ^ Parker 2004; Parker 2005, p. 220; Thomson 2005.
30. ^ Lehmann 1987, pp. 28–29.
31. ^ a b c Spender 1966, p. 129.
32. ^ Spender 1977.
33. ^ Parker 2005, p. 254.
34. ^ Parker 2005, p. 219.
35. ^ 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."
36. ^ Farina 2013, p. 79.
37. ^ Isherwood 1976, pp. 164–166; Isherwood 1976, pp. 150, 297; Farina 2013, pp. 74–81.
38. ^ Lehmann 1987, pp. 28–29; Izzo 2001, pp. 97, 144.
39. ^ Isherwood 1963, p. 23, The Last of Mr. Norris.
40. ^ Isherwood 1963, p. 177, Goodbye to Berlin.

Works cited

• 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.
• Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 47–49. ISBN 1-57912-390-2.
• Caudwell, Sarah (3 October 1986). "Reply to Berlin". New Statesman. London. pp. 28–29.
• 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. ISBN 0-7190-2875-2 – 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).
• Doyle, Rachel (12 April 2013). "Looking for Christopher Isherwood's Berlin". The New York Times. New York City. p. TR10. Retrieved 11 February 2022.
• Farina, William (2013). "Christopher Isherwood, Reporting from Berlin". The German Cabaret Legacy in American Popular Music. London: McFarland & Company. ISBN 978-0-7864-6863-8 – via Google Books.
• Firchow, Peter Edgerly (2008). Strange Meetings: Anglo-German Literary Encounters from 1910 to 1960. Washington, D.C.: Catholic University of America Press. ISBN 978-0-8132-1533-4 – via Google Books.
• Fryer, Jonathan (1977). Isherwood: A Biography. Garden City, New York: Doubleday & Company. ISBN 0-385-12608-5 – via Google Books.
• Garebian, Keith (2011). The Making of Cabaret. Oxford, England: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books.
• Gray, Margaret (20 July 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles, California. Retrieved 11 February 2022.
• Grossman, Lev (6 January 2010). "All-Time 100 Novels: The Berlin Stories". Time. New York City. Retrieved 11 February 2022.
• Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York City: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books.
• Isherwood, Christopher (1963) [1945]. The Berlin Stories. New York City: New Directions. ISBN 0-8112-0070-1. LCCN 55-2508 – via Internet Archive.
• Izzo, David Garrett (2001). Christopher Isherwood: His Era, His Gang, and the Legacy of the Truly Strong Man. Columbia, South Carolina: University of South Carolina Press. ISBN 978-1-57003-403-9.
• Izzo, David Garrett (2005). Christopher Isherwood Encyclopedia. London: McFarland & Company. ISBN 0-7864-1519-3. Retrieved 11 February 2022.
• Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7 – via Internet Archive.
• Moss, Howard (3 June 1979). "Christopher Isherwood: Man and Work". The New York Times. New York City. Retrieved 11 February 2022.
• Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.
• Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford, England: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved 11 February 2022. (Subscription or UK public library membership required.)
• Spender, Stephen (28 November 1993). "Come to the Cabaret". The Observer. London. p. 74.
• Spender, Stephen (30 October 1977). "Life Wasn't a Cabaret". The New York Times. New York City. p. 198. Retrieved 11 February 2022.
• Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books.
• Stansky, Peter (28 November 1976). "Christopher and His Kind". The New York Times. New York City. p. 260. Retrieved 11 February 2022.
• Thomson, David (21 March 2005). "The Observer as Hero". The New Republic. New York City. Retrieved 11 February 2022.