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This enthralling tale of a “material girl” in 1930s Berlin is the masterpiece of a literary icon, rediscovered and restored to the same heights as such luminaries as Isherwood and Brecht.
In 1931 a young woman writer living in Germany penned her answer to Anita Loos’s Gentlemen Prefer Blondes and the era of cinematic glamour: The Artificial Silk Girl. Though a Nazi censorship board banned Irmgard Keun’s work in 1933 and destroyed all existing copies, the novel survived, as fresh and relevant today as the day it was written.
The Artificial Silk Girl is the story of Doris, beautiful and striving, who vows to write down all that happens to her as the star of her own life story. But instead of scripting what she hopes will be a quick rise to fame and fortune as either an actress or the mistress/wife of a wealthy man, she describes a slow descent into near prostitution and homelessness. Prewar Berlin is not the dazzling and exciting city of promise it seems; Doris unwittingly reveals a bleak, seamy urban landscape.
In 1931 a young woman writer living in Germany penned her answer to Anita Loos’s Gentlemen Prefer Blondes and the era of cinematic glamour: The Artificial Silk Girl. Though a Nazi censorship board banned Irmgard Keun’s work in 1933 and destroyed all existing copies, the novel survived, as fresh and relevant today as the day it was written.
The Artificial Silk Girl is the story of Doris, beautiful and striving, who vows to write down all that happens to her as the star of her own life story. But instead of scripting what she hopes will be a quick rise to fame and fortune as either an actress or the mistress/wife of a wealthy man, she describes a slow descent into near prostitution and homelessness. Prewar Berlin is not the dazzling and exciting city of promise it seems; Doris unwittingly reveals a bleak, seamy urban landscape.
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