Metropolis

David Edgerley Gates


Fritz Lang's movie Metropolis was released in 1927. Paranoid and hallucinatory, it's the first feature-length dystopian SF picture, but of course its spooky Teutonic future is at right angles to the spooky present of a doomed Weimar.

Philip Kerr's last Bernie Gunther novel, Metropolis, came out this year. It's set in 1928, and sure enough, Fritz Lang's chilly breath hovers over the story. (His wife, the screenwriter Thea von Harbou, steps into the book to pick Bernie's brain for cop shop detail - she's turning over some ideas in her head for a serial killer story.) Bernie remarks early on that for all its grime and despair, his home ground of Berlin mirrors both the human condition and the German national character, and you can say the same about a book or a movie, so is it true of this book or that movie?

Lang had a problematic relationship with the Nazis. He'd been raised Catholic, but his mother was originally Jewish. It was an obvious pressure point. And while we're on the subject, Thea, the wife, was a Nazi sympathizer from early days. Hitler and Goebbels were huge fans of Metropolis, as it happens. But after Lang made The Testament of Dr. Mabuse in late 1932, and Hitler came to power in January, 1933, the Nazis banned Mabuse, which was pretty clearly aimed at Hitler. Goebbels, on the other hand, offered Lang a job as head of UFA, the biggest German movie studio. It was bait-and-switch. Lang was being invited inside the tent, but the price of admission was spelled out: he was selling his soul. Lang said he'd think about it, and beat feet for France. Thea stayed behind and divorced him. UFA went to Leni Riefenstahl.

The question is often raised in the Bernie books - in fact, it's the central spine of the stories - What would you do as the world disintegrated around you, as it lost all moral force, what choices would or could you make? Metropolis goes back to the beginning, chronologically. It takes place before March Violets, the first of the novels. But it looks forward. The foreshadowing is all there, On the other hand, Bernie doesn't comment on what he sees and does from a future perspective. This dramatic irony, which is used in a number of the books, isn't present here. Bernie is blessed with ignorance of the future, even though the choices keep lining up. The answer to the questions is, You compromise just a little every day, and it gets easier.

How can we know, how could we possibly predict whether we'd rise to the occasion, show grace under pressure, or simply cave? It seems, generally speaking, as if even the major life-changing decisions we make are essentially taking the path of least resistance. If you've followed Bernie's history, as I have, over the thirteen books leading up to Metropolis, you respect him not just for his survival skills, but for his generosity, and his self-respect, even if he sometimes loses confidence. Seeing him here, right as his life is about to take a walk off a cliff, is enormously affecting, because you know what's coming, and he doesn't. The future of Fritz Lang's Metropolis, as frightening as it is, can't begin to conjure up the waiting chaos, and the terror.

Metropolis, the novel, is a swan song. Phil Kerr died last year. This is one terrific run of books.

Innocent Abroad

zzPaul recently mentioned stumbling into a den of Nazis. His encounter reminded me that I might have done the same, in Germany, no less.

My German colleague and I were driving to Stuttgart in the nastiest weather. Evening set in like a black curtain falling as winds and torrential rains rocked and hammered our Audi. Thunder boomed like cannon. Lightning blinded us.

Waters in the roads rose, overloading storm sewers. Wrestling the steering wheel, Dedrick slowed to a crawl to avoid hydroplaning. When we turned into one village, waters gushed down the cobblestones like a river. We yielded in the furious face of Mother Nature and pulled up to a pub.

The dash inside the alehouse soaked us to the skin. The pub’s humidity approximated that of an overfilled aquarium without the nice filtration. Weather reports suggested we’d be holed up for several hours.

This kneipe had last been plastered and painted about the time the Kaiser’s coach last passed through. Its toiletten plumbing surely predated the Austro-Hungarian Empire.

The bar ran nearly the length of the room stopping short of the left wall so barmaids could pass back and forth. There sat pinball machines flanking a door. Besides serving the taproom, waitresses also passed through the door, carefully closing it behind themselves.

Two waitress wore prim, high-collar blouses, but our hyper-blonde server wore a bodice cut like a bushel basket, barely containing the fruits of her Nordic genes. All went for naught. Noses in glasses, no one paid attention. A kind of miasma seemed to have settled upon the bar.

The place didn’t decorate its walls with kitsch, memorabilia, or antiques, faux or otherwise. Apparently some visitors left behind traces of chewing gum, perhaps from a New Jersey teen who’d run off to London to become part of the Beatles scene. Visiting German nightclubs and bars, she’d retraced their up-and-coming route through villages like this. She’d disappeared here one evening in 1966, said the barmaid, probably gypsies.

A speaker piped in some sort of deutscher Musik. Whenever someone would switch it on, a man stormed out of the kitchen to shut it off.

A few patrons morosely chatted, exhibiting none of the camaraderie of American taverns or English pubs. A few sat alone, sullen, possibly glum from the relentless rains and floods gushing down the straße. When barmaids opened the door off the bar, traces leaked out of stentorian words, wisps of a laugh, strains of singing.

A man wearing a slouch hat dropped into a booth across from me. The ID tag on the briefcase chained to his wrist might have read Antonio Prohías. His valise covered letters carved into the table. I could make out the letters ‘…child…’.

My colleague was becoming inebriated. After a glass of Mosel, I switched to Coca-Cola, that American abomination that everyone loves. It meant I’d do the driving once the downpour let up.

When slouch-hat man unlocked his briefcase, My imagination made out the rest of the lettering carved in the table, maybe Erskine Childers.

“Kaffee,” mumbled Dedrick in half English. “Die bardame, tell her kaffee. Gott, I need kaffee.”

The barmaids had wandered off, but I stayed attentive, waiting for one to appear. Within moments, one whooshed out of the kitchen. She balanced a tray on a pinball machine, levered open the side door, and disappeared inside. This time she didn’t close it.

German Flags

1848~1933

1935~1945

1949~20xx

From my angle, the room loomed large, apparently an auditorium. A man stood speaking at a microphone. Surrounding him, the platform was decorated in colorful bunting, red, white, and black. Not, I noticed, the Weimar and post-war red, gold, and black, but the terrifying 1935-1945 decade of red, white, black.

“Dedrick,” I hissed. “Damn it, Dedrick, snap to. Take a look.”

My companion blearily opened his eyes and turned. He stiffened.

The barmaid glided back through the door and headed for the kitchen. The speaker suddenly noticed. He pointed sternly toward the door, nearly pointing at me.

A man in a pressed, light brown uniform strode into view. Was that… Was he wearing a Sam Browne shoulder strap? This sergeant-at-arms glanced around and firmly shut the door.

Dedrick instantly sobered.

“Did you see what I saw?” I asked.

“Shh. Shut up in here.” He glared out the window at the rain. “Can you drive?”

To avoid the appearance of panicked departure, we abided another twenty minutes, then dashed toward the Audi, awash in rushing water.

Once out of town, I steered toward Stuttgart.

“What was that?” I asked.

“I don’t know.”

“Was it…?”

“I know what you’re thinking. No. The Nazi Party is illegal in Germany, banned with good reason.”

“But…”

“Don’t speak of it, not here, not now.”

So in a rain-soaked village overlooking a riverbed disguised as a cobblestone street, a curious gathering took place in a private room adjacent to a scruffy bar. Maybe Garbage Collectors Union Local 101 were merely meeting that evening. Perhaps they shared a penchant for neatly pressed brown uniforms and red bunting with dramatic dashes of black and white.

Or maybe it was something else entirely.

---

Next time: Ladybug Nazi versus the Valkyrie

R.I.P. Philip Kerr

(I planned to write today's blog post about the good time had-by all appearances by ALL-at the Left Coast Crime Conference in Reno a couple of weeks back-thereby following up on my previous post about how to get the most out of your crime fiction conference experience. I will write that post in two weeks. I am moved instead to write this week of the passing of one of my heroes.)

On Friday, March 23rd, I got the word from an old friend that a mutual old friend had died. Crime writer and freelance editor Jim Thomsen texted me that Phillip Kerr died of cancer that day, aged just 62.

I suppose that in the strictest sense Mr. Kerr and I were not actually friends. I never met him in

person. The closest I got was trying and failing to find him in the green room before the Edgars the year he was nominated in the Best Novel category for his book The Lady from Zagreb.

And yet, I do consider him a friend. In much the same way that one girl in the movie Ten Things I Hate About You says of William Shakespeare, "We're in a relationship," I think of Phillip Kerr as an unwitting mentor, whose works have both delighted and provoked me.

And more, they made me want to work harder at the craft, to whet the edge of my facility with the written word, to forge characters who breathed and sweated and threatened and quailed and laughed and hated and fairly jumped off the page.

Philip Ballantyne Kerr was, by most accounts, a study in contradictions. Scottish-born, but no lover of Scotland, the child of devout Baptist parents who, by his own admission knew early on in life that "Jesus and I weren't going to get along," and a man who trained as a lawyer, yet despised the notion of practicing law.

An outsider by temperament, Kerr was bullied by other kids in school–and even teachers–in part because of his dark complexion. He later poured these experiences, and the feelings of isolation which attended them, into his fiction.

The result, in part, was Bernie Gunther.

Kerr's most famous creation, Gunther was, like Kerr himself, a study in contradictions: a former kriminalinspektor on the Berlin police department's famed Murder Squad, Gunther was a decorated veteran of World War I who lost his first wife in the flu epidemic which came hard on the heels of that war. A cop whose career thrived during the Weimar Republic, and who resigned from the police soon after the Nazis swept into power in 1933.

And yet Gunther eventually finds himself coerced into working for the Nazis. The reason they tolerate him (even as they disparage him as a "Jew-loving Bolshevik," among other things) is because they need someone with Gunther's talents. As Kerr has none other than the villainous Reinhard Heydrich put it to Gunther: Nazis are good at cracking skulls and shooting people. Any thug can do that. But when you need a good detective...

It's an effective set-up. But what Philip Kerr wrote was so much more than superb historical crime fiction. Like all great literary stylists, he was able to move fiction into the realm of great art: not so much literature as a brilliant expression of the universality of the human condition. Kerr possessed a knack for helping his readers understand, even sympathize, with people whose experiences seemed on the surface so vastly different from those of the reader.

Kerr proved especially adept at channeling the zeitgeist of early 20th century Germany, painting a portrait of these people (many of them fictional doppelgängers of actual historical figures) which was by turns scathing and sympathetic, unblinking, hard-edged, and in the end, fair. And in his Gunther novels he would return again and again to one of the questions which has haunted the world in the years since Hitler shot himself in his Berlin bunker: Why did the German people allow Hitler and his gang of thugs to rise unchecked in the first place?

Kerr's narrator Gunther is a brooder, so he is the perfect vessel for this and other existential questions posed to and about the people and the time. In the prologue to Kerr's latest book, Greeks Bearing Gifts, Kerr has his protagonist attempt–not for the first time–to answer this question:

But how is one ever to explain what happened? It was a question I used to see in the eyes of some of the American guests at the Grand Hotel in Cap Ferrat where, until recently, I was a concierge, when they realized I was German: How was it possible that your people could murder so many others? Well, it's like this: When you walk through a big fish market you appreciate just how alien and various life can be; it's hard to imagine how some of the fantastic, sinister, slipper-looking creatures you see laid out on the slab could even exist, and sometimes when I contemplate my fellow man, I have much the same feeling.

Myself, I'm a bit like an oyster. Years ago–in January 1933, to be exact–a piece of grit got into my shell and started to rub me the wrong way. But if there is a pearl inside me I think it's probably a black one. Frankly, I did a few things during the war of which I feel less than proud. This is not unusual. That's what war's about. It makes all of us who take part in it feel like we're criminals and that we've done something bad. Apart from the real criminals, of course; no way has ever been invented to make them feel bad about anything. With one exception, perhaps: the hangman at Landsberg. When he's given the chance, he can provoke a crisis of conscience in almost anyone.

The question haunts Gunther throughout the series, and since Kerr mastered the art of the non-linear plot thread beginning with 2011's Field Gray, he was able to revisit this central theme of his Gunther novels in a variety of inventive ways.

Kerr was a prolific writer by any stretch of the imagination. He wrote other series (including a recent triad of thrillers centered around a soccer team–soccer apparently being his favorite sport), a variety of standalone thrillers, even an acclaimed series of children's books!

I confess I haven't read any of the non-Gunther books yet. Now, unfortunately, it seems I'll have an opportunity to catch up on the rest of this remarkable writer's canon. And I have been looking forward to delving into his series of children's books with my son once he's old enough (they're middle reader books, a la Harry Potter, and my son is five, so I've got some time).

With this entry I have done my best to pay homage to a powerful artist whose work has had a galvanizing effect on my own. As with trying to capture the essence of all wondrous things, the effort strikes me as a bit like trying to describe an eclipse to a blind man: you're doomed to only do justice to one half of the experience.

All that said, my life is the richer for having known Philip Kerr in the context of his fiction. And isn't that really all we can ask of great art?

Thanks, Philip. And may you rest in peace, my friend.

Useful and Necessary Knowledge

I just finished a novel, always a satisfying moment, even if the product never quite lives up to the initial inspiration. Novels begin in careless rapture with hints of genius, run into complications toward the middle, and end, if one is lucky, somewhere in the realistic realm of ‘good enough.’
But this one, being set in the 1920‘s, got me to thinking about how one gets information for historical novels and the differences in what is needed for history, on the one hand, and a story, on the other. In my opinion, it comes down to minutia, and while I don’t like to criticize historians, whose ranks I’ve joined on occasion, they usually skimp of the day-to-day details that are the blood and bones of any novel.

Money, in particular, is always tricky. Not only did earlier eras have different coinage – the UK went decimal within living memory – but it is extremely hard to determine equivalents in today’s money. You don’t need to be a Jane Austen or a Karl Marx to feel that lacking a grasp of how much and what value leaves a gap in a manuscript.

Of course, historians venture into the realm of economics, but they tend to like the big scale and the overall trend. Only occasionally do they include the price of a modest lunch or the cost of a subway ticket or a ride on a mail coach. What would a woman pay for a dress and how much would her seamstress clear? These are often hard to determine.

Consider Weimar, the ill fated Republic and its rowdy capital, Berlin, where I’ve recently been spending time in the service of the very young Francis Bacon. It’s easy to find statistics on everything from housing to political preferences, but I really had to struggle to find out what was served in the local bars, where I’m afraid Francis spent a lot of time. Fortunately a memoir came to the rescue with the menu: pea soup, sausages and beer. Memoirists are notoriously unreliable about their personal history, but I think they’re probably trustworthy on fast food.

Memoirs, particularly Christopher Isherwood’s, were useful in another way, because Berlin suffered extensive bombing damage during the war. It was then divided by the wall, and ,when the wall came down, reintegrated with the east. All this has meant buildings lost, areas redeveloped, old haunts vanished except in the mind of the memoirist who helpfully resurrects forgotten districts and seedy cafes. Sometimes, though, one must finesse a problem. I read whole books on the so called combat leagues, the groups of political activists that slid from providing bodyguards to fueling street warfare. Their motives, their sociological backgrounds, their financial support, their aims, their resentments were all laid out in neat columns. But what about the colors of their shirts? Except for the Brownshirts, no dice.

Of course, occasionally one comes across a volume that seems written with other writers in mind. I can recommend two. Mel Gordon’s Voluptuous Panic, the Erotic Worlds of Weimar Berlin is beyond lurid but the vocabulary and the venues, not to mention the goings-on of the notorious sex trade, are all usefully laid out. With pictures. Want to know who patronized the Cozy Corner, the “boy bar” beloved of Auden and Isherwood? Care to take a gander at the Eldorado, the great transvestite club and cabaret? Gordon has the info and the illustrations. A picture really is worth a thousand words in this case.

Not related to Weimar but useful for anyone who cares to dip into the Victorian world is Daniel Pool’s What Jane Austen Ate and Charles Dickens Knew. Divided up by topic ranging from transportation to marriage to money to etiquette, it can help you distinguish a barouche from a victoria, and a ladies maid from a housemaid. A useful volume indeed.

But sometimes there are no useful memoirs or frivolous historians. Then the writer must improvise.

Soon after we moved to eastern Connecticut, I was asked to write a local history, and wanting to do something a little different, I came up with the idea of ending each chapter with short blurbs like what’s for dinner? what did they do for fun? travel time to some local town or attraction? how were they educated? and how did they die?

You can probably guess which ones were easy to discover, New England being proud of its education and mortality being popular with medical historians. Travel was another matter. I wound up checking with a local cross country coach to estimate how long it would take a tribal runner to cover rough ground and with the university equestrian center for the time it would take a decent horse to make a ten mile journey on dirt roads.

Historians need the big picture, bless them, but novelists have – or should have – their own big, or little, picture in mind. What we need are the details, the minutia and the ephemera that allow us to conjure the ghosts of the past.