The portrayal of the economy in Käsebier erobert den Kurfürstendamm. Gabriele Tergit s 1931 novel Käsebier erobert den Kurfürstendamm, detailing

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1 The portrayal of the economy in Käsebier erobert den Kurfürstendamm. Gabriele Tergit s 1931 novel Käsebier erobert den Kurfürstendamm, detailing the rise and fall of the folk singer Käsebier through the media, is a sharp critique of capitalism, particularly the form of capitalism that developed in late 1920s Germany. Much of the novel is focused on the economic force that drives the Käsebier Project, where the reckless financial speculation is representative of the excess of Germany s Golden Twenties boom years. Tergit provides a scathing, often sarcastic commentary on capitalism, its values and its impact on society. To fully understand her thinking, the context in which she wrote must be considered, that is, the economic situation in Germany at the time and the Neue Sachlichkeit literary movement which dominated during the Weimar Republic era. Critique of capitalism is a traditionally Marxist idea and thus it is worth analysing how much of Tergit s view has been influenced by Karl Marx. This essay will also look at what Tergit tries to achieve with the novel- whether she is trying to encourage change to the system or simply highlighting its weaknesses. Firstly, the literary context in which Käsebier was produced must be considered. The Neue Sachlichkeit epoch developed in the 1920s during Germany s Weimar Republic years. Although there is no full consensus on what exactly defines Neue Sachlichkeit, it is marked by a functionalization of literature, driven by the politicisation of society 1. What is clear, however, is 1 Becker, Sabina, Neue Sachlichkeit im Roman., in Neue Sachlichkeit im Roman : Neue Interpretationen zum Roman der Weimarer Republik, ed. Sabina Becker and Christoph Weiss (Stuttgart, Metzler, 1995), p. 8. 1

2 that the Zeitroman was the preferred genre of the time. Sabine Becker defines a Zeitroman by Orientierung an Zeitlichkeit und Faktizität sie erfüllen die programmatischen Forderungen nach Authentizität der Darstellung, nach Aktualität und Gesellschaftsanalyse. 2 It attempts to accurately and objectively describe the socio-economic reality of its setting, with the author often fulfilling the role of Berichterstatter 3. Käsebier fits perfectly into this category, providing an accurate account of life in 1920s Berlin, paying particular attention to the economic conditions, newspaper culture and entertainment industry. The language used is far closer to the everyday than to the ornate language of many previous literary movements, which adds to the journalistic quality of the genre 4. This newspaper-like style adds to the realistic nature of the texts, and encourages the reader to feel the story they are reading is more than just pure fiction. This is evident in the fast-paced narration and kaleidoscopic cutting 5 of Käsebier- Tergit s journalistic roots will be of no surprise to readers. Secondly, what is the form of capitalism that Gabriele Tergit is criticising? Classical laissez-faire capitalism, the first form of modern capitalism, reigned until The 1920s was a time of turbulent economics, with varying circumstances around the globe. Germany was crippled by the hyperinflation of , with prices rising uncontrollably, almost destroying the middle 2 Becker, p Becker, p Becker, p Boa, Elizabeth, Women writers in the Golden Twenties in The Cambridge Companion to the Modern German Novel. ed. Graham Bartram (Cambridge, Cambridge University Press, 2004), p Kaletsky, Anatole, Capitalism 4.0: The Birth of a New Economy (London, Bloomsbury, 2010), p. 3. 2

3 class by wiping out the value of their savings and pensions, as well as massively increasing unemployment among professionals whose services were no longer required and non-unionised workers 7. With the introduction of the Rentenmark in November 1923, she managed to emerge from the abyss and quickly returned to stability and growth. However, there was an illusion of false prosperity 8 in post-inflation Germany, which Tergit alludes to in the opening scene of the novel, as shops advertise huge sales to offload their stocks with a hint of desperation 9. Despite this, a culture of financial speculation, risk-taking and moneymaking emerged, which built up to a crescendo in The Wall Street Crash on October 24 th, 1929 brought this to an end and led Germany into the Great Depression alongside the other developed economies of the world. Tergit gives us a detailed insight into the realities of this world from 1929 to The work of Karl Marx is useful for attempting to deconstruct the view of capitalism presented in Käsebier. Marx conceded that literature may be used to represent economic thinking as a method of rising from the abstract to the concrete 10, and making potentially complex ideology and theory accessible to the masses. In this sense, it is possible that Tergit is offering the public a Marxist alternative to capitalism. Edward J. Ahearn points out how Marx s 7 Fergusson, Adam, When Money Dies: The Nightmare of the Weimar Collapse (London, Kimber, 1975), p Fergusson, p Tergit, Gabriele, Käsebier erobert den Kurfürstendamm (Berlin, Arani, 1997), p Ahearn, Edward J, Marx and Modern Fiction (London, Yale University Press, 1989), p. 3. 3

4 concept of alienation is relevant to the analysis of literature 11, and it can certainly be applied to Käsebier. To alienate someone is to make them feel isolated or estranged 12. Marx believed that capitalism leads to the alienation of workers from the product of their labour, which is a power independent of the producer 13. This means that labourers do not see or understand the benefits of the work to which they dedicate their daily lives, and leads to them being enslaved by their labour and it growing out of (their) control 14, resulting ultimately in the alienation of the people from their human nature. This ultimately leads people to believe that the economic forces that guide their lives are overwhelming natural laws 15 over which they have no control. The character of Käsebier himself can be analysed in terms of the classical Marxist views of freedom and determinism. Following on from the theory of alienation and enslavement of labourers, freedom is subverted by the capitalist system and workers can only acquire true freedom through a reduction in working hours 16. Käsebier is a huge success story, the ideal example of someone who has gained from capitalism and is now living the dream. However, it must be questioned whether or not Käsebier s success has also offered him freedom. He has to perform as many shows as when he began singing at Hasenheide, although the venues change, e.g. to London, 11 Ahearn, p Oxford English Dictionary, 3 rd Edition (2010). 13 Marx, Karl, Economic and Philosophical Manuscripts of 1844 (Moscow, Progress, 1981), p Marx, Karl and Engels, Friedrich, The German Ideology: Including Theses on Feuerbach and Introduction to the Critique of Political Economy (Virginia, Prometheus Books, 1998), p Ahearn, p Ahearn, p

5 and thus hasn t seen a reduction in his working hours. He has also become helpless- he has no control over the forces which bring him success, or those which erode his fame and fortune at the end (the media and speculators hold this power). Throughout the novel, he is viewed merely as an object, illustrating the impersonal nature of capitalism- Käsebier ist ein reines Produkt der Medien 17. This is also a feature of Neue Sachlichkeit- society is emphasized over the individual, with das Zeitschicksal 18 taking precedence over individual outcomes. The worker does not necessarily gain when the capitalist does, but he necessarily loses when the latter loses 19. This quote from Marx s Economic and Philosophic Manuscripts forms a key part of his criticism of capitalism, which fits well in the narrative of Käsebier as well. When Fräulein Dr Kohler walks through Berlin, she sees the poverty of the working classes and recognises the struggles they face 20. However, this fades into the background and is ignored by the bourgeoisie as they focus only on the enormous profit potential of the Käsebier development, which highlights how the workers have not benefited from the boom of the late 1920s in the way property developers and financiers have. The second part of the quote rings true at the novel s conclusion, in particular at the Gläubigerversammlung. When the market crashes and Muschler declares bankruptcy, the people who have lodged their 17 Stephan, Inge, Stadt ohne Mythos. Gabriele Tergits Berlin- Roman Käsebier erobert den Kurfürstendamm in Neue Sachlichkeit im Roman : Neue Interpretationen zum Roman der Weimarer Republik, ed. Sabina Becker and Christoph Weiss (Stuttgart, Metzler, 1995), p Becker, p Marx, Economic and Philosophical Maunscripts, p Tergit, p

6 savings at the bank lose everything, for the second time in less than a decade. It is even questioned whether indeed Muschler has even lost, as his personal assets have not suffered losses to the extent of the general population: Er fährt noch immer s Auto, rief einer. 21 Even though it was his excessive risk-taking that caused the collapse of his bank, Muschler escapes lightly in comparison to his customers, highlighting one of the major complaints against capitalism and the modern banking system, which is still highly relevant today- lack of accountability. Marx believed that theory should be rooted in historical fact, and thus fiction with truly Marxist perspectives should also be insistently historical 22. Tergit s novel is centred around the historical events of the stock market boom, Wall Street Crash and ensuing Great Depression (as we would expect from a Zeitroman), which gives added weight to its criticism of society and capitalism. There are also limitations to the extent of which Käsebier can be considered to contain classical Marxist views. Firstly, Tergit briefly alludes to the poverty of the working class in Berlin but this is by no means a focal point of the novel. Furthermore, Marx was convinced a social revolution driven by the proletariat was inevitable and sought to enlighten the working class, who, on the whole, were unaware of their plight, to this fact. Tergit, however, doesn't propose an alternative to the current system. However, while Tergit appears to share Marx s views with regard to his denunciation of capitalism, she does not propagate the view that socialism or communism should instead be adopted. During the Gläubigerversammlung, bolschewisieren is twice proposed by 21 Tergit, p Ahearn, p

7 angry creditors 23, however the thought is given no real consideration. Miermann mentions collectivism as a solution to Germany s problems at one point, however he is quickly rebuffed by Fräulein Dr Kohler, who claims that collectivism in Russia has resulted in living conditions worse than in western Europe 24. As such, the objective of Tergit s writing is somewhat unclear. She does not seek to offer society an alternative system to capitalism. This is similar to Charles Dickens- many of his major works involved a critique of financial capitalism, as detailed by Paul A. Jarvie. Dickens also failed to offer credible and robust solutions to the problems of financial capitalism, although he did attempt to find them, for example in Nicholas Nickleby, the Cheeryble brothers live a life of philanthropy, insulated from the capitalistic society 25. Tergit s social criticism would perhaps be more effective if she had proposed a viable solution to the problems created by the economic system of the 20s. For example, the crisis the global economy is currently facing has asked similar questions of the worlds policy makers, and one of the key solutions proposed by many is tighter regulation of the banking and finance industry. Tergit s criticism of the system is sharp and she displays an acute awareness of the workings of the economy, however she fails to offer such an answer. One of the key recurring motifs in the novel is the economic concept of rationalisation, which is one of the strongly criticised aspects of capitalism. To rationalise, in an economic sense, means to make (a company, process or 23 Tergit, p Tergit, p Jarvie, Paul A, Ready to Trample on All Human Law: Financial Capitalism in the Fiction of Charles Dickens (New York; London, Routledge, 2005), p. 9. 7

8 industry) more efficient, especially by dispensing with superfluous personnel or equipment 26. Rationalisation was common in the German economy of the 1920s, as firms sought to modernise and increase profits postindustrialisation. This was influenced by the spread of the new Taylorism management science in the US, whereby efficiency became a cult 27. In Käsebier, America is looked to as a shining example of economic power and stability, and Frächter references the tripling of profits seen there due to rationalisation 28. Frächter is brought in to begin rationalisation at the Berliner Rundschau and immediately begins dismissing employees, including Miermann, despite his 18 years of service as an editor. Capitalism has no room for loyalty. Rationalisation is also mentioned in the context of newspaper articles being shortened- with lines literally being removed to save space amid the claim that the readers won t even notice 29. The reader is shown quite clearly that although rationalisation benefits businessmen and investors, it has hugely negative effects on employment and once again it is the working and middle classes who suffer. This is also reflected in the narrative style of the novel, as Tergit uses a condensed, precise style and short, snappy dialogue, typical of the journalistic fashions of Neue Sachlichkeit. This indicates that perhaps rationalisation also spread to the realms of culture and influenced writers, whether subconsciously or not. 26 Oxford English Dictionary, 3 rd Edition (2010) 27 Pellicelli, Giorgio, Management, in The Fontana Economic History of Europe: The Twentieth Century, Part One, ed. Carlo M. Cipolla (London, Fontana,1976), p Tergit, p Tergit, p. 7. 8

9 If the general meaning of the word rationalise is taken, there is little rational behaviour to be seen among the novel s characters, an irony which is unlikely to have been missed by Tergit. There is little logic behind Käsebier s meteoric rise to success- in fact, it is not entirely clear how talented Käsebier actually is, with varying opinions expressed on this during the novel, and he is poorly received by critics in London. As Fiona Sutton points out, the whole process only requires the most spurious of rationale to function 30. The speculative investment in the Käsebier project contradicts economic rationale. The homo economicus is assumed to be risk-adverse, but the vast majority of the novel s characters defy this logic and take uninformed risks to invest in speculative rubbish 31 on the Kurfürstendamm. The irrationality is self-reinforcing- the more people that engage in the abandonment of reason in promoting Käsebier and making dubious investments, the more others are encouraged to follow. Tergit exposes the irresponsible risk-taking, fostered by the capitalistic emphasis on profits, that leads to the collapse of the stock market and causes the public to lose faith in the decision-makers once again. Tergit presents an overwhelmingly negative view of society and its future, with regards to capitalism. Many of the central characters represent the unruly force of financial capitalism and its ruthlessness- the profiteer Frächter, the banker Richard Muschler, construction magnate Otto Mitte. This is emphasized by their repetition of die Finanzierung ist alles throughout the 30 Sutton, Fiona, Weimar s Forgotten Cassandra: The Writings of Gabriele Tergit in the Weimar Republic in German Novelists of the Weimar Republic, ed. Karl Leydecker (Rochester, Camden House, 2006), p Boa, p

10 novel; we even hear it after the venture has failed 32. In contrast, there is no character that offers a strong opposition to capitalism. Miermann and Herr Frechheim come closest- Frechheim is very wary of the risks associated with the Käsebier project and is the only character to show trepidation about the investment- Mir ist gar nicht wohl bei der Bauerei 33, while Miermann is continually in opposition to the major changes occurring in society and expresses doubts about the merits of capitalism 34. However, Miermann loses his credibility as a moral beacon, guiding against the evils of capitalism and fascism, when he rapes Käte after she refuses to enter into a relationship with him. The degradation of Miermann s character reflects the degradation of the morals of society under the influence of capitalism. Both Frechheim and Miermann are very much portrayed as the older generation of the novel. They have traditionalist views, which are disregarded by the younger generation of money-hungry capitalists, which indicates a bleak future for society. Neue Sachlichkeit is characterised by the functionalization of literature, and there is no doubt that one of the primary functions of Käsebier erobert den Kurfürstendamm is to criticise capitalism. The realistic, historically accurate portrayal of Germany s economic crisis between 1929 and lends this criticism authenticity. Tergit is heavily influenced by classical Marxist thought, however she falls short of proposing socialism as an alternative to capitalism. Her condemnation focuses on the rationalisation, pursuit of profit and fragile foundations that marked capitalism of the 1920s, and also on the corruption of 32 Tergit, p Tergit, p Tergit, p

11 officials, greed, superficiality and selfishness, which have not been analysed in detail here. However, by 1931, the Great Depression was in full swing and many believed that capitalism was at fault, and as such her opinion cannot be considered original, while her eagerness to denounce capitalism without proposing any solutions to the problems somewhat reduces the effectiveness of the novel. Nevertheless, this is outweighed by the fact that she produces an excellent Zeitroman that still holds major relevance for today s society. Had more attention been afforded to Tergit and her peers who shared her view of capitalism, perhaps it wouldn t be necessary to ask the same questions of the financial system today that Tergit asked 80 years ago. 11

12 Bibliography Tergit, Gabriele. Käsebier erobert den Kurfürstendamm. Berlin: Arani, Ahearn, Edward J. Marx and Modern Fiction. London: Yale University Press, 1989 Boa, Elizabeth. Women writers in the Golden Twenties. The Cambridge Companion to the Modern German Novel. Ed. Graham Bartram Cambridge: Cambridge University Press, Becker, Sabina. Neue Sachlichkeit im Roman. Neue Sachlichkeit im Roman : Neue Interpretationen zum Roman der Weimarer Republik. Ed. Sabina Becker and Christoph Weiss. Stuttgart: Metzler, Brinker-Gabler, Gisela. Deutsche Literatur von Frauen, II: 19. und 20. Jahrhundert. Munich: Beck, Fergusson, Adam. When Money Dies: The Nightmare of the Weimar Collapse. London: Kimber, Jarvie, Paul A. Ready to Trample on All Human Law: Financial Capitalism in the Fiction of Charles Dickens. New York; London: Routledge, Kaletsky, Anatole. Capitalism 4.0: The Birth of a New Economy. London: Bloomsbury, Marx, Karl. Economic and Philosophical Manuscripts of Moscow: Progress, Marx, Karl and Engels, Friedrich. The German Ideology: Including Theses on Feuerbach and Introduction to the Critique of Political Economy. Virginia: Prometheus Books, Oxford English Dictionary, 3 rd Edition. Oxford University Press,

13 Pellicelli, Giorgio. Management, The Fontana Economic History of Europe: The Twentieth Century, Part One. Ed. Carlo M. Cipolla. London: Fontana, Stephan, Inge. Stadt ohne Mythos. Gabriele Tergits Berlin-Roman Käsebier erobert den Kurfürstendamm. Neue Sachlichkeit im Roman : Neue Interpretationen zum Roman der Weimarer Republik. Ed. Sabina Becker and Christoph Weiss. Stuttgart : Metzler, Sutton, Fiona. Weimar s Forgotten Cassandra: The Writings of Gabriele Tergit in the Weimar Republic. German Novelists of the Weimar Republic. Ed. Karl Leydecker. Rochester: Camden House,

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