Underground Berlin
chapter 15 Underground Berlin Illustration 15.1 Untitled, Umbo (c. 1935) Berlinische Galerie © Bildrecht, Wien, 2015 Auch du, vielstädtiges Berlin/ Unter und über dem Asphalt geschäftig Berthold Brecht, “Über Deutschland” If Americans’ first literary visions of Berlin were of Fay’s “ample squares; level streets; long lines of sculptured facades, temples, palaces, churches, statues, columns, porticoes, and bridges, in a stately order” (37), a century later Isherwood added a further touch to this architecture so “carefully arranged” in “grand international styles,” Berlin’s “self-conscious civic centre” asserting its “dignity as a capital city – a parliament, a couple of museums, a State bank, a cathedral, an opera, a dozen embassies, a triumphal arch,” nothing forgotten, all seeming “so very correct”—until one learns to recognize the “flash of that hysteria which flickers always behind every grave, gray Prussian façade” (1954: 370). If Isherwood was “a camera with its shutter open,” recording Berlin of those days (1), Alan Balfour has described how period photos of Berlin, from today’s perspective, seem to reveal a “reality below the surface of things,” hinting at “often unacknowledged forces below the surface of experience, which may erupt when least expected” (46). Clearly, as Katherine Anne Porter and Thomas Wolfe suggested, by the 1930s, something ominous flickered below the city’s orderly surfaces with a brighter hysteria than that of the night life Isherwood made famous. As Wilhelm Gauger writes, from the Second World War’s begin- ning until shortly afterward, Berlin is depicted in Anglophone literature as a place contrasting a beautiful surface with the hollow demonism of Nazism © koninklijke brill nv, leiden, ���6 | doi �0.��63/97890043��098_0�7 <UN> 232 chapter 15 below.1 Howard K.
[Show full text]