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SPEAKER_00: Before we get started, a quick warning.This episode contains mentions of suicide and strong language. Hello.From Wonder Media Network, I'm Jenny Kaplan, and this is Womanica.Historically, women have been told to make themselves smaller, to diminish themselves.Some have used that idea to their advantage, disappearing into new identities.For others, a disappearance was the end to their stories, but the beginning of a new chapter in their legacies.This month, we're telling the stories of these women.We're talking about disappearing acts. In 1940, the British newspaper The Daily Telegraph ran a story.
A best-selling German author had taken her own life while in exile in Holland.But there was never a funeral, not even a casket.And the report left people to wonder, how had a once-celebrated author's story ended in suicide?And more importantly, was that even true?Let's talk about Irmgard Coyne. Irmgard was born in 1905 in Berlin.We don't know many details about her early life, but we do know that she began her career as an actress in the early 1920s.But Irmgard's true calling was the written word. In 1931, she published her debut novel, One of Us.The story was of a poor German girl on a quest to find her birth mother.
Armgard was hailed as an exciting new talent in German literature.The New York Times wrote in its review that the book, "...stands out in delightful contrast to the books written by men because of the wholesome freshness of its presentation and views." And when the renowned German modernist author Alfred Derblin met Irmgard, he had this to say.If she writes even half as well as she speaks, she'll be the best female novelist Germans had yet. But Irmgard was launching her literary career at a dangerous time, right as the Nazi Party was coming to power in Germany.And Irmgard had no tolerance for it.She wasn't explicitly critical of the Nazi Party, but her writing showcased a strong distaste for the way the regime was degrading German culture and the quality of daily life in Berlin.In 1932, Irmgard published her second novel, The Artificial Silk Girl. It chronicled the efforts of a young woman in Berlin to become a burlesque star.The novel's heroine, a working-class 19-year-old named Doris, does everything possible to reach a life of luxury.
No spoilers here, but Doris' story does not have a happy ending. Irmgard used Doris's journey to criticize the aspects of life under the Third Reich that felt most suffocating.She was especially critical of the Nazis' version of German womanhood.She wrote, "'If a young woman from money married an old man because of money and nothing else, and makes love to him for hours, and has this pious look on her face, she's called a German mother and a decent woman.'" If a young woman without money sleeps with a man with no money because he has smooth skin and she likes him, she's a whore and a bitch."It was quotes like that one that put Irmgard in hot water.Commercially, her books did extremely well.The Artificial Silk Girl sold out its first printing of 50,000 copies.But Nazi officials thought Irmgard's work was anti-German and casting vulgar aspersions against German womanhood. She was one of many authors during the 1930s to have her works labeled as asphalt literature, basically meaning that they were foreign and not representative of true and proper German culture.
Her books were blacklisted and burned.At first, Irmgard fought back.She tried to sue the Nazi Party for loss of income after they pulled her books from shelves.But she was unsuccessful and only put more of a target on her back. The Gestapo pulled her in for questioning, and in 1936, she fled the country for Belgium.She spent the next few years in exile, floating from France to the Netherlands, continuing to write all the while.She published several novels during this period, including 1937's After Midnight.This book is darker and more directly hostile to Adolf Hitler and the Nazi Party. It reflects Irmgard's growing despair at the fascist takeover happening in Germany, and the hatred, paranoia, and desperation it inspired in people around her.She wrote, Eventually, Irmgard could no longer find commercial success with her published works.
She'd fallen from fame and favor in Germany.Strict censorship kept readers from discovering her stories.She'd also confessed in personal letters to engaging in self-harm and struggling with alcoholism.When her suicide was reported in 1940, it seemed plausible enough.Yet another exiled writer driven to despair during the war. But Irmgard wasn't actually dead.Once the rumors of her death had begun to circulate, possibly initiated by Irmgard herself, she seized on the opportunity to disappear.She convinced a bureaucrat to make a false passport for her and snuck back into Germany.To the outside world, Irmgard was gone, buried.But in reality, she was living in Cologne with her parents, flying under the radar.
She remained hidden from public life for the next several decades, only visiting with friends she was sure wouldn't give her away.But in the 1970s, Irmgard's books experienced a resurgence in popularity.A new generation of German youth wanted to make sense of the war, the Holocaust, how people lived under the Third Reich.And Irmgard's books provided insight into just that.Her novels were reissued, and she experienced a second chance at literary acclaim with a new audience. Irmgard died in 1982.In an interview after her death, Irmgard's daughter, Martina, recalled her mother's lifelong regret at how her career had been sidetracked by the Third Reich.She always said that the Nazis took her best years from her. All month, we're talking about disappearing acts.For more information, find us on Facebook and Instagram at Womanica Podcast.
Special thanks to Liz Kaplan, my favorite sister and co-creator.Talk to you tomorrow.
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