Irmgard Keun (1905–1982)
Autor(a) de The Artificial Silk Girl
Obras por Irmgard Keun
Etiquetado
Conhecimento Comum
- Outros nomes
- Tralow, Charlotte
- Data de nascimento
- 1905-02-06
- Data de falecimento
- 1982-05-05
- Localização do túmulo
- Friedhof Melaten, Cologne, Germany
- Sexo
- female
- Nacionalidade
- Germany
- Local de nascimento
- Berlin, Germany
- Local de falecimento
- Cologne, Germany
- Locais de residência
- Berlin, Germany
Cologne, Germany
Greifswald, Germany
Hamburg, Germany
Ostend, Belgium (exiled from Germany)
Holland (exiled from Germany) - Ocupações
- Harriott, Clara Morris
stenographer
novelist - Relações
- Tralow, Johannes (spouse)
Roth, Joseph (lover)
Zweig, Stefan (friend) - Prémios e menções honrosas
- Marieluise-Fleißer-Preis (1981)
Fatal error: Call to undefined function isLitsy() in /var/www/html/inc_magicDB.php on line 425- Irmgard Keun was born in Berlin and attended a Lutheran girls' school in Cologne. She supported herself as a stenographer while originally pursuing an acting career. In 1931, at age 26, she burst onto the German literary scene with two radical novels that became bestsellers: Gilgi--One of Us, and The Artificial Silk Girl. They portrayed young women shedding conventional roles and adopting more modern and urban lives. The Nazi regime called the books "anti-German" and blacklisted them. After a fruitless lawsuit against the Gestapo for lost royalties, Irmgard Keun was forced into a wandering exile around Europe. She befriended a number of fellow German émigré writers and intellectuals including Stefan Zweig and Heinrich Mann, and was romantically involved with Joseph Roth. In 1940, she arranged for a newspaper to report that she had committed suicide. Using a false passport in the name of Charlotte Tralow, she then managed to smuggle herself back into Germany, where she survived the war. During this turbulent period, she produced two masterworks: After Midnight (1937), now considered one of the most powerful first-hand portrayals of life under Nazism, and Child of All Nations (1938). In the 1960s, she spent several years in a psychiatric hospital in Bonn. At the end of her life, she was finally recognized as one of Germany's groundbreaking and most courageous authors.
Membros
Críticas
Listas
Prémios
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Associated Authors
Estatísticas
- Obras
- 12
- Membros
- 1,273
- Popularidade
- #20,147
- Avaliação
- 3.8
- Críticas
- 38
- ISBN
- 140
- Línguas
- 9
- Marcado como favorito
- 1
And when she reports on the enthusiasm for Hitler's visit to her city, her thoughts show that she sees through the empty spectacle. She's very much the outsider, the one who is observing, not joining in, not unless it's necessary to avoid attracting attention. So when the Nazi anthem is sung to the accompaniment of the compulsory Nazi salute, she does it too, to avoid the wrath of the crowd. The implication is obvious: how many others were paying lip service too?
Authoritarianism is everywhere: from Gerti's friend Kurt in his SA uniform, making her sit down almost forcibly so that everyone would think she was his property. But Gerti's in love with Dieter, who's a Jew, which brings forth Sanna's private refusal to engage with labels such a person of mixed race, first class or maybe third class — though she's not naïve about what Dieter really wants from Gerti even if he is polite, and nice, and young, with soft, brown, round, velvety eyes.
It's painful to read about Dieter's father's quarrels with Algin (another young friend) who objects to the Nazis. Dieter's father — who is exempt from the restrictions on Jewish business because he runs an export company — thinks that they've put the German mentality in order and saved him from the communists. In 1937 Irmgard Keun could not have known what this man's fate was to be.
But it's also painful to realise that while Sanna thinks she's very clever at seeing through propaganda which seduces others like her Aunt Adelheid, subverting the regime on the sly so that only those who agree with her know about it, achieves nothing. It turns out that her boyfriend Franz has been in Gestapo custody and the novel ends with the pair in flight because he has murdered the informer. Her abrupt coming-of-age and loss of innocence ends as it did for so many with escape rather than resistance — and, as foreshadowed early in the book, what else could we expect under the circumstances?
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