Christopher Isherwood photo

Christopher Isherwood

English-born American writer Christopher William Bradshaw Isherwood portrayed Berlin in the early 1930s in his best known works, such as

Goodbye to Berlin

(1939), the basis for the musical

Cabaret

(1966). Isherwood was a novelist, playwright, screenwriter, autobiographer, and diarist.

With W.H. Auden he wrote three plays—

The Dog Beneath the Skin

(1932),

The Ascent of F6

(1936), and

On the Frontier

(1938). Isherwood tells the story in his first autobiography,

Lions and Shadows

.

After Isherwood wrote joke answers on his second-year exams, Cambridge University in 1925 asked him to leave. He briefly attended medical school and progressed with his first two novels,

All the Conspirators

(1928) and

The Memorial

(1932). In 1930, he moved to Berlin, where he taught English, dabbled in Communism, and enthusiastically explored his homosexuality. His experiences provided the material for

Mister Norris Changes Trains

(1935) and

Goodbye to Berlin

(1938), still his most famous book.

In Berlin in 1932, he also began an important relationship with Heinz Neddermeyer, a young German with whom he fled the Nazis in 1933. England refused entry to Neddermeyer on his second visit in 1934, and the pair moved restlessly about Europe until the Gestapo arrested Neddermeyer in May 1937 and then finally separated them.

In 1938, Isherwood sailed with Auden to China to write Journey to a War (1939), about the Sino-Japanese conflict. They returned to England and Isherwood went on to Hollywood to look for movie-writing work. He also became a disciple of the Ramakrishna monk, Swami Prabhavananda, head of the Vedanta Society of Southern California. He decided not to take monastic vows, but he remained a Hindu for the rest of his life, serving, praying, and lecturing in the temple every week and writing a biography, Ramakrishna and His Disciples (1965).

In 1945, Isherwood published Prater Violet, fictionalizing his first movie writing job in London in 1933-1934. In Hollywood, he spent the start of the 1950s fighting his way free of a destructive five-year affair with an attractive and undisciplined American photographer, William Caskey. Caskey took the photographs for Isherwood’s travel book about South America, The Condor and The Cows (1947). Isherwood’s sixth novel, The World in the Evening (1954), written mostly during this period, was less successful than earlier ones.

In 1953, he fell in love with Don Bachardy, an eighteen-year-old college student born and raised in Los Angeles. They were to remain together until Isherwood’s death. In 1961, Isherwood and completed the final revisions to his new novel Down There on a Visit (1962). Their relationship nearly ended in 1963, and Isherwood moved out of their Santa Monica house. This dark period underpins Isherwood’s masterpiece A Single Man (1964).

Isherwood wrote another novel, A Meeting by the River (1967), about two brothers, but he gave up writing fiction and turned entirely to autobiography. In Kathleen and Frank (1971), he drew on the letters and diaries of his parents. In Christopher and His Kind (1976), he returned to the 1930s to tell, as a publicly avowed homosexual, the real story of his life in Berlin and his wanderings with Heinz Neddermeyer. The book made him a hero of gay liberation and a national celebrity all over again but now in his true, political and personal identity.


“Even when they are geniuses in spite of it, their masterpieces are invariably warped.”
Christopher Isherwood
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“Does he know about me? George wonders; do any of them? Oh yes, probably. It wouldn't interest them. They don't want to know about my feelings or my glands or anything below my neck. I could just as well be a severed head carried into the classroom to lecture to them from a dish.”
Christopher Isherwood
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“By the time it has gotten dressed, it has become he; has become already more or less George — though still not the whole George they demand and are prepared to recognize. Those who call him on the phone at this hour of the morning would be bewildered, maybe even scared, if they could realize what this three-quarters-human thing is what they are talking to. But, of course, they never could—its voice's mimicry of their George is nearly perfect.”
Christopher Isherwood
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“Waking up begins with am and now. That which has awoken then lies for a while staring up at the ceiling and down into itself until it has recognized I, and therefrom deduced I am, I am now.”
Christopher Isherwood
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“Just suppose that the dead do revisit the living. That something approximately to be described as Jim can return to see how George is making out. Would this be at all satisfactory? Would it even be worthwhile? At best, surely, it would be like the brief visit of an observer from another country who is permitted to peep in for a moment from the vast outdoors of his freedom and see, at a distance, through glass, this figure who sits solitary at the small table in the narrow room, eating his poached eggs humbly and dully, a prisoner for life.”
Christopher Isherwood
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“If it’s going to be a world with no time for sentiment, it’s not a world that I want to live in.”
Christopher Isherwood
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“All women like men to be strong and decided and following out their careers. A woman wants to be motherly to a man and protect his weak side, but he must have a strong side too, which she can respect ... If you ever care for a woman, I don't advise you to let her see that you've got no ambition. Otherwise she'll get to despise you.”
Christopher Isherwood
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“The Europeans hate us because we’ve retired to live inside our advertisements, like hermits going into caves to contemplate. We sleep in symbolic bedrooms, eat symbolic meals, are symbolically entertained- and that terrifies them, that fills them with fury and loathing because they can never understand it.”
Christopher Isherwood
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“Staring and staring into the mirror, it sees many faces within its face - the face of the child, the boy, the young man, the not-so-young man - all present still, preserved like fossils on superimposed layers, and, like fossils, dead. Their message to this live dying creature is: Look at us - we have died - what is there to be afraid of?It answers them: But that happened so gradually, so easily. I'm afraid of being rushed.”
Christopher Isherwood
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“The more I think about myself, the more I'm persuaded that, as a person, I really don't exist. That is one of the reasons why I can't believe in any orthodox religion: I cannot believe in my own soul. No, I am a chemical compound, conditioned by environment and education. My "character" is simply a repertoire of acquired tricks, my conversation a repertoire of adaptations and echoes, my "feelings" are dictated by purely physical, external stimuli.”
Christopher Isherwood
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“We must remember that nothing in this world really belongs to us. At best, we are merely borrowers.”
Christopher Isherwood
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“If you really have talent, you know, you'll go on writing - whatever people say to you.”
Christopher Isherwood
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“It seemed to me then that to have published a book - any kind of book - would be the greatest possible happiness I could ask from life.”
Christopher Isherwood
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“... he couldn't, as a respectable master in an English public school, have taken us to a brothel. Yet how I wish he had! His introduction to sexual experience would, I feel sure, have been a masterpiece of tact; it might well have speeded up our development by a good five years.”
Christopher Isherwood
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“Chalmers, thanks to Baudelaire, knew all about Taffreuse Juive, opium, absinthe, negresses, Lesbos and the metamorphoses of the vampire ... Needless to say, Chalmers and myself were both virgins, in every possible meaning of the word.”
Christopher Isherwood
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“Chalmers, like many of the English writers whom he then most admired, felt a strong natural sympathy with everything French. At Rouen he imagined himself as having escaped into a world in which it was possible to speak openly and unaffectedly of all those subjects which in England must be introduced by an apology or guarded with a sneer - poetry, metaphysics, romantic love.”
Christopher Isherwood
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“Finally, after a glance at Notre Dame and a brisk trot through the Louvre, we sat down at a cafe on the Place de l'Opera and watched the people. They were amazing -- never had we seen such costumes, such make-up, such wigs; and, strangest of all, the wearers didn't seem in the least conscious of how funny they looked. Many of them even stared at us and smiled, as though we had been the oddities, and not they. Mr. Holmes no doubt found it amusing to see the pageant of prostitution, poverty and fashion reflected in our callow faces and wide-open eyes.”
Christopher Isherwood
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“There was nothing to be done with him and his kind - unless you were prepared to shoot them.”
Christopher Isherwood
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“Cambridge exceeded our most macabre expectations ... the arm-chairs, the crumpets, the beautifully-bound eighteenth century volumes, the fires roaring in stoked grates. Each of us had the loan of an absent undergraduate's rooms - bedroom, sitting-room and pantry; all fitted up in a style which, after the spartan simplicity of a public school study, seemed positively sinful.”
Christopher Isherwood
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“I was very pink and young and English; and quite prepared for a Continent complete with poisonous drains, roast frogs, bedbugs and vice.”
Christopher Isherwood
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“Everything in the room is like that: unnecessarily solid, abnormally heavy and dangerously sharp.”
Christopher Isherwood
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“I've always made it a rule to have a suit for every day of the week. Perhaps you'll tell me I'm vain, but you'd be surprised if you knew what it had meant to me, at critical moments of my life, to be dressed exactly in accordance with my mood. It gives one such confidence, I think.”
Christopher Isherwood
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“And again and again I have to remind myself the whole art of life is to lean on people, to involve oneself with them quite fearlessly and yet — when the props are kicked away — remain leaning, as it were, on empty air. Like levitation.”
Christopher Isherwood
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“The prefect evening...lying down on the couch beside the bookcase and reading himself sleepy...Jim lying opposite him at the other end of the couch, also reading; the two of them absorbed in their books yet so completely aware of each other's presence.”
Christopher Isherwood
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“He dislikes even to touch these things, for they are the runes of an idiotic but nevertheless potent and evil magic; the magic of the think-machine gods, whose cult has one dogma - we cannot make a mistake.”
Christopher Isherwood
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“But seriously, I believe I'm a sort of Ideal Woman, if you know what I mean. I'm the sort of woman who can take men away from their wives, but I could never keep anybody for long. And that's because I'm the type which every man imagines he wants, until he gets me; and then he finds he doesn't really, after all.”
Christopher Isherwood
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“...she acted as a kind of rough and ready chemical reagent; in certain combinations she produced certain known results.”
Christopher Isherwood
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“An afternoon drive from Los Angeles will take you up into the high mountains, where eagles circle above the forests and the cold blue lakes, or out over the Mojave Desert, with its weird vegetation and immense vistas. Not very far away are Death Valley, and Yosemite, and Sequoia Forest with its giant trees which were growing long before the Parthenon was built; they are the oldest living things in the world. One should visit such places often, and be conscious, in the midst of the city, of their surrounding presence. For this is the real nature of California and the secret of its fascination; this untamed, undomesticated, aloof, prehistoric landscape which relentlessly reminds the traveller of his human condition and the circumstances of his tenure upon the earth. "You are perfectly welcome," it tells him, "during your short visit. Everything is at your disposal. Only, I must warn you, if things go wrong, don't blame me. I accept no responsibility. I am not part of your neurosis. Don't cry to me for safety. There is no home here. There is no security in your mansions or your fortresses, your family vaults or your banks or your double beds. Understand this fact, and you will be free. Accept it, and you will be happy.”
Christopher Isherwood
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“We live in stirring times- tea-stirring times.”
Christopher Isherwood
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“I put my genius into my life, not into my art.”
Christopher Isherwood
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“As a final test, I tried to look Arthur in the eyes. But no, this time-honoured process didn't work. Here were no windows to the soul. They were merely part of his face, light-blue jellies, like naked shell-fish in the cervices of a rock. There was nothing to hold the attention; no sparkle, no inward gleam. Try as I would, my glance wandered way to more interesting features; the soft, snout-like nose, the concertina chin. After three or four attempts, I gave it up. It was no good. There was nothing for it but to take Arthur at his word.”
Christopher Isherwood
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“Never mind. Never mind. In this brief life, one cannot always be counting the cost.”
Christopher Isherwood
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“Like a long train which stops at every dingy little station, the winter dragged slowly past.”
Christopher Isherwood
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“You're a nice boy," she chuckled harshly. "You must come round here one evening. I'll teach you something you didn't know before.”
Christopher Isherwood
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“I always look upon the capacity to save money as little short of miraculous.”
Christopher Isherwood
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“I'm afraid, ha, ha, I find more inspiration in the Marquis de Sade.”
Christopher Isherwood
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“I must say that I have always felt that, in the deepest sense, we are all brothers. Class distinctions have never meant anything to me; and hatred of tyranny is in my blood. Even as a small child I could never bear injustice of any kind. It offends my sense of the beautiful. It is so stupid and unaesthetic. I remember my feelings when I was first unjustly punished by my nurse. It wasn't the punishment itself which I resented; it was the clumsiness, the lack of imagination behind it. That, I remember, pained me very deeply.”
Christopher Isherwood
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“All right, we've heard your liberty speech. Does that include us or doesn't it?”
Christopher Isherwood
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“I always say that I only wish to have three sorts of people as my friends, those who are very rich, those who are very witty, and those who are very beautiful.”
Christopher Isherwood
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“In another moment, when I had drunk exactly the right amount of champagne, I should have a vision. I took a sip. And now, with extreme clarity, without passion or malice, I saw what Life really is. It had something, I remember, to do with the revolving sunshade. Yes, I murmured to myself, let them dance. They are dancing, I am glad.”
Christopher Isherwood
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“What is one ever doing anywhere?”
Christopher Isherwood
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“Sometimes Arthur talked about his childhood. As a boy he was delicate and had never been sent to school. An only son, he lived alone with his widowed mother, whom me adored. Together they studied literature and art; together they visted Paris, Baden-Baden, Rome, moving always in the best society, from Schloss to château, from château to palace, gentle, charming, appreciative; in a state of perpeutal tender anxiety about each other's health.”
Christopher Isherwood
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“For a few minutes, maybe, life lingers in the tissues of some outlying regions of the body. Then, one by one, the lights go out and there is total blackness. And if some part of the non-entity we called George has indeed been absent at this moment of terminal shock, away out there on the deep water, then it will return to find itself homeless.”
Christopher Isherwood
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“How delightful it is to be here.(Gym) If only one could spend one's entire life in this state of easygoing physical democracy.”
Christopher Isherwood
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“I certainly should have,' he agrees, smiling and thinking what an absurd and universally-accepted bit of nonsense it is, that your best friends must necessarily be the ones who best understand you. As if there weren't far too much understanding in the world already; above all, that understanding between lovers, celebrated in song and story, which is actually such torture that no two of them can bear it without frequent separations or fights.”
Christopher Isherwood
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“One should never write down or up to people, but out of yourself.”
Christopher Isherwood
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“He crosses the front room, which he calls his study, and comes down the staircase. The stairs turn a corner; they are narrow and steep. You can touch both handrails with your elbows, and you have to bend your head, even if, like George, you are only five eight. This is a tightly planned little house. He often feels protected by its smallness; there is hardly room enough here to feel lonely. Nevertheless.”
Christopher Isherwood
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“2NOTES“You broke your other appointment, didn’t you?”“I did not! I told you on the phone—these people canceled at the last minute—”“Oh, Geo dear, come off it! You know, I sometimes think, about you, whenever you do something really sweet, you’re ashamed of it afterwords! You knew jolly well how badly I needed you tonight, so you broke that appointment. I could tell you were fibbing, the minute you opened your mouth! You and I can’t pull the wool over each other’s eyes. I found that out, long ago. Haven’t you—after all these years?”“I certainly should have,” he agrees, smiling and thinking what an absurd and universally accepted bit of nonsense it is that your best friends must necessarily be the ones who best understand you.”
Christopher Isherwood
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“No, Geo—underneath all that, Nan really loves me. It’s just she wants me to see things her way. You know, she’s two years older; that meant a lot when we were children. I’ve always thought of her as being sort of like a road—I mean, she leads somewhere. With her, I’ll never lose my way.”
Christopher Isherwood
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“As they embrace, she kisses him full on the mouth. And suddenly sticks her tongue right in. She has done this before, often. It’s one of those drunken long shots which just might, at least theoretically, once in ten thousand tries, throw a relationship right out of its orbit and send it whizzing off on another. Do women ever stop trying? No. But, because they never stop, they learn to be good losers.”
Christopher Isherwood
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