Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Prelude / Chicago,
Berlin / William James,
Trieste / Nora Barnacle,
Sarajevo / Rebecca West,
South of France / Margaret Anderson,
Galway / Maud Gonne,
Lausanne / Igor Stravinsky,
St. Petersburg / W. Somerset Maugham,
London / Jean Rhys,
Jersey Island / Claude Cahun,
Coda / Zakynthos,
Suggested Reading,
Berlin / William James
Here is the real core of the religious problem: Help! Help!
William James, Varieties of Religious Experience
"You're in Berlin because you feel like a failure."
I had met this man all of ten minutes ago and he was already summing me up neatly. I made subtle readjustments to my clothing, as if it had been a wayward bra strap or an upwardly mobile hemline that had given me away. More likely it was my blank stare in response to his question, "So, what brings you to Berlin?"
He has had to do this a lot, I imagine: greet lost boys and girls, still wild with jet lag, still unsure how to make ourselves look less obviously like what we are, we members of the Third Great Wave of American Expatriation to Berlin. This man before me was second on the list of names that everyone gets from worried friends when resettling overseas: Everyone I Know in the City to Which You Are Moving (Not Totally Vouched For). I had lasted about a week before I sent e-mails tinged with panic to everyone on my list. He had been the first to answer.
I must have blushed at the accuracy of his remark, because he immediately qualified it. "Everyone who moves to Berlin feels like a failure. That's why we're here. You'll have good company." Still embarrassed, I scanned the menu for one of the four German words I had mastered and, failing, pointed helplessly to a random item when the waiter returned. It would prove to be a strange Swiss soda of indeterminate flavor. It tasted like the branch of a tree, carbonated. It was not unpleasant. I had been shooting for something alcoholic, but I was already too laid bare to have admitting to a mistake and reordering left in me.
At this moment it seemed unlikely this American could commiserate. My own failings were too grandiose, the depths to which I had fallen too abysmal. I was narcissistic in my failings, and he looked like he was doing pretty okay. He sat across from me confident, knowledgeable. He had ordered in German. The people in the restaurant had greeted him by name. He talked about artistic projects he was working on. He was certainly sweating less than I was on this hot July day. Later a tale would unravel, one that mimicked the stories of so many of the Americans who had flocked here over the last decade. Unable to survive financially in New York without having to abandon their writing, their art, their music, they came to a city of cheap rents, national health insurance, and plentiful bartending jobs that could cover a reasonable cost of living. He had an apartment. It had hardwood floors. A failure, my eye.
In contrast, there I was, ten days into my new city and still stumbling around like a newborn calf. I was tired of being the person I was on an almost atomic level. I longed to be disassembled, for the chemical bonds holding me together to weaken and for bits of me to dissolve slowly into the atmosphere. It was not a death wish, not really. Not anymore. I was hoping something in the environment, some sturdier, more German atoms, would replace them.
Because there does seem to be something about Berlin that calls out to the exhausted, the broke, the uninsurable with preexisting mental health disorders, the artistically spent, those trapped in the waning of careers, of inspiration, of family relations, and of ambition. To all those whose anxiety dreams play out as trying to steer a careening car while trapped in the backseat, come to us. We have a café culture and surprisingly affordable rents. Come to us, and you can finish out your collapse among people who understand.
* * *
Let's say, for a moment, that the character of a city has an effect on its inhabitants, and that it sets the frequency on which it calls out to the migratory. People who are tuned a certain way will heed the call almost without knowing why. Thinking they've chosen this city, they'll never know that the city chose them. Let's say, for a moment, that the literal situation of a city can leak out into the metaphorical realm. That the city is the vessel and we are all merely beings of differing viscosity, slowly taking on the shape of that into which we are poured.
If that were the case, what to make of the fact that Berlin is built on sand? Situated on a plain with no natural defenses, no major river, no wealth of any particular resource, it's a city that should not exist. It can't be any wonder that Berlin has for hundreds of years — no, longer than that, past Napoleon, past the medieval days when suspected witches were lined up at the city gates and molten metal was poured between their clenched teeth, past the whispers of the Romans that those who inhabited these lands were not quite human, back to the days of the people residing here who are now known to us only by some pottery shards and bronze tools — been a little unstable. It would explain the city's endless need to collapse and rebuild, even as the nation that engulfs it marches on confidently, linearly.
Perhaps its unstable nature is what beckons the unstable to its gates. The Lausitzer. The Jastorf. The Semnonen. The nameless and the preliterate. A shifting bunch of conquerors and the conquered. On through invaders and defenders, and populations reduced by half in war, disease, and the destruction of whoever pulled the short straw for being the scapegoat this century. The process merely sped up in the twentieth, oscillating madly through world wars and grotesque ideas, crashing economies and blind eyes turned.
It plays out seasonally as well here in the northern reaches of Germany. The lush highs of summer, everything green and tangled with a sun reluctant to leave its post at night and overly enthusiastically trying to rouse you from bed in the very early hours of the morning, crash endlessly down toward the darkness of the winter solstice. The trees that had been blooming in a state of fecund glory when I arrived in the city lost their leaves, revealing that the only things behind them were the endless concrete boxes of Soviet midcentury "architecture." The sun shunned us and rarely peeked out from behind its thick cloud cover. When it deigned to, it gave off all the glow and heat of a porch light. The gray of the sky matched the gray of the buildings matched the gray of the thick coating of ice that remained on the sidewalks all winter. I fell on it one night, or early one morning, I guess, a little worse for wear, accompanied by a man I met at a bar, whose entire seduction strategy was just to follow me home, despite the fact that I kept trying to shoo him away like a stray dog.
I was six months into my Berlin residence. And from my akimbo position I threw the holy tantrum of a sailor-mouthed two-year-old. "Fuck this city. Fuck it. Why the fuck did I ever move here, god fucking damn it."
"You're strange," said the German man, still resolutely standing by.
"Help me up."
* * *
That's when I took my William James essays off the shelf. I found in his works of...
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Paperback. Zustand: Good. When Jessa Crispin was thirty, she burned her settled Chicago life to the ground and took off for Berlin with a pair of suitcases and no plan beyond leaving. Half a decade later, she's still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender. The Dead Ladies Project is an account of that journey-but it's also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition. Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life? Artikel-Nr. 00093364714
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