The Artificial Silk Girl

There is nothing fake or artificial about the heroine of this surprising work of fiction. First published in 1932 in Germany, it was followed very quickly by its English translation in 1933. It was an immediate hit for a young author's second novel; praised for its pointed sense of humour as well as the underlying critique of society. The story, written in the form of the central character's musings and diary, blends a young woman's daily struggles to make ends meet with an at times sarcastic yet always witty commentary on daily life among the working classes during the dying days of the Weimar Republic. Irmgard Keun cleverly uses her memorable character - Doris - who is as naïve as she is shrewd - to convey her own astute observations and critique of social and economic conditions of the time. While many aspects of the impending political disaster could not be predicted, Keun conveys her presentiments through Doris's experiences. Despite the less than rosy picture it draws for Doris, the story is written in a deceptively light-hearted style, using the regional and working class colloquial language of her character with some Berliner phraseology and idioms thrown in. Keun's vivid imagery and metaphors are unexpected as they are hilarious. Not having read (yet) the new English translation, I cannot comment on the way in which Keun's peculiar language, grammatical mistakes and all, is being conveyed in another language. Running out of options to subsidize her meagre income as a less than competent typist, Doris dreams of making it big in the movies. "I want to be a shine" (Ich will ein Glanz sein) is her ambition. She has the looks for it and her choice of boyfriends is aimed at having them provide the necessary accessories for her status as a glamour girl. Options appear to open when she lands a one-line action part against stiff competition. Unfortunately she gets carried away with her brief moment of "Glanz", and walks off with a fur coat that "wants me and I want it - and now we have each other". Sensuality is prominent when Doris describes fabric, often linking it to smell, objects and the people she meets. Her closeness and loyalty to her former colleague and friend Therese is touching, relying on her as much as wanting to support her in turn. To escape being discovered with the fur coat, she leaves her mid-size town for Berlin, the centre of fashion, the arts and the movie business. Her luck goes up and down, depending on the circumstances and generosity of the current boyfriend. All the while she pines for her first and only love, Hubert. As soon as she feels settled into an almost "normal" life of some luxury with one partner, events force her to leave quietly or secretly. Yet, unflinchingly, she pursues her dream and the search for a Mister Right. Will she find him? As we follow Doris through a year's seasons, we realize that we take in much more: Keun's rich and detailed portrayal of Berlin and brilliant characterization of some of i

This is the kind of novel that is driven by both ecstasy and sadness. We are flung back and forth between the narrator's moods, dropping from one state to the other without warning. It is a beautiful novel, engaging, and it moves at a whirlwind pace. It is difficult to put down, the moods evoked, the emotions, the dreams, the confusion... There are some universal qualities to the story, i.e. searching for a home, the thrill of the moment, the illusions of love and lust. Take away the post WWI, pre-WW II-setting, place it in a modern context, and Doris could be the girl you just met at the bar or the club the other night, hoping against hope to put her life together amidst the distractions of the world and her heart. It is both timely and timeless.

Although the Artificial Silk Girl (das kunstseidene Mädchen) is the story of a young woman in Germany during the 1920s, I feel as though this story could have taken place today. I believe that many young readers, who are dissatisfied with the choices we are given, will feel the same way and will be sympathetic to the protagonist's plight. Doris has become disenchanted with life. She is unwilling to accept the dichotomous life that everyone expects her to follow: either become a mother or a whore. However, as Doris discovers, there is little difference between the two. Doris wants to become a "shine" ("Glanz") and chooses to leave her life as a wage-slave, moving to Berlin and ignoring the restictive choices forced upon her. The Artificial Silk Girl is written through the eyes of Doris as she describes this period of her life in her "Hollywood movie style." The reader travels with Doris through her physical and emotional struggles and journeys. If you are dissatisfied with the choices forced upon us, read The Artificial Silk Girl--not for its answers, but for its familiarity.

I bought this book for the introduction, and because my German is rusty after 10 years of not using it. I was very impressed with this first English translation's success at capturing the mood of the original German text. Doris's spontanaeity, youth, naivite really comes through in Ankum's artful translation, and her astute observations of her Berlin does not lose its immediate, filmic narrative quality, which is crucial for a work that is informed by the film of the Weimar period and its treatment of the New Woman. I recommend it highly for students of German to read side-by-side with the original Keun text or for those interested in women's studies of the Weimar period. Review by Jeanne Stepanova

This outstanding novel by Irmgard Keun is the portrait of a young German woman in search of a new life. Doris leaves her small town and goes to Berlin with a stolen fur coat on her and the idea if becoming a star in her mind. She is fascinated by the glory of the "big city," as it is shown on television and in films. Is she going to get what she expects from the city? Is she going to end up with the love of her life, who will provide her the happy life she has been waiting for? The book also presents a lively panorama of Berlin in the last days of Weimar era through the first person-narrative of Doris, who functions like a camera and creates vivid images of the city. The reader wanders in the streets of Berlin with Doris, gets lost in a crowd of beggars, prostitutes and men selling perfumes and naked women posters in every corner of Alexander Platz. In this respect, the book is almost cinematic, and it is a great choice especially for those who are interested in the social, cultural and political conditions of Germany in the early 1930s. One year after it was first published Keun's book was blacklisted for its "anti-German tendencies" and "obscene" narrative. This book is a critical reflection of its time, and Keun does not give credit to euphemisms in her story. So I can say that The Artificial Silk Girl is a brave narration of the story a brave young woman. Through Doris's psychological insight, Keun reflects a dark and gloomy image of Berlin in an ironic style. I very much enjoyed my adventure with Doris in her search of wealth, love, luxury and glamour in the hidden corners of the city, and to witness her self discovery while she is looking for many other things. Original narrative, great story!