Martha was certainly eclectic in her tastes. Early in her stay, she met the Gestapo chief Rudolf Diels. He was a frequent visitor to the Dodds’ residence, often to assure the ambassador that he was doing what he could to prevent violence against Americans. Martha’s father and other diplomats viewed him as more sympathetic to their grievances than other German officials. Nonetheless, he was also presiding over the early concentration camps, and Martha admitted she heard from several people that “at least twelve people a day” were killed during that period. But none of that prevented Martha from going out with him, dancing in nightclubs and taking long drives in the country together. “I was intrigued and fascinated by this human monster of sensitive face and cruel, broken beauty,” she declared. Nor, of course, did it matter that Diels was married; Martha dismissed his wife as “a pathetic passive-looking creature.”
A young Jew who met Martha at several cocktail parties warned her that Diels was using her as protection, probably in some internal Nazi battles. “Martha, you are very silly, and you are playing with fire,” he said. But she wasn’t about to be dissuaded and kept seeing the Gestapo chief. “I was extremely interested in his type and his conversation,” she wrote. “He gave me, consciously and unconsciously, a picture of the backstage workings of espionage that I could have not got anywhere else.” It was a revealing comment that later could be read as an indirect admission about her own spying for a different regime.
Martha was soon infected by Diels’s evident nervousness about his rivals within the party, and in December 1933 even told Messersmith, the U.S. consul general, that he feared for his life. He wanted Messersmith to write a letter to the Nazi authorities praising him, suggesting that he was doing a lot to keep U.S.-German relations on an even keel. Messersmith and Ambassador Dodd sympathized with him but didn’t feel they could write such a letter.
Martha worried both about inadvertently saying something to Diels about her German friends that might lead to their deaths, and about Diels himself. After one late night of dancing, Diels came into the Dodds’ residence for a drink in the library before going home. It was evident he wanted to talk about whatever latest intrigues he had on his mind. Martha grabbed a pillow from the sofa. When Diels asked her what she was doing, she indicated she was going to cover the phone. That prompted a fleeting sinister smile, as Martha recalled, and a nod of approval.
While Martha continued to take such measures, she admitted she got herself into “a nervous state that almost bordered on the hysterical.” She began replaying conversations in her head with various Germans, wondering if they were recorded or overheard. From her second-floor bedroom, she was suddenly prone to hear ominous footsteps on the gravel driveway, see moving shadows, and to assume any popping sound was a gunshot. As for Diels, in the period leading up to the Night of the Long Knives, he was like “a frightened rabbit,” Martha recalled, clinging to her. Diels survived the bloodletting of June 30, 1934, but earlier he lost his post of Gestapo chief, never attaining that prominent a position in the Nazi hierarchy again.
Martha Dodd claimed that a variety of factors—everything from the crudeness of German propaganda to her exposure to a widening circle of friends—transformed her from an apologist for the Nazis into a fervent opponent in the spring of 1934. Not coincidentally, this was also the period when Martha began what was probably her most passionate affair. Her new lover was Boris Vinogradov. In her 1939 memoir Through Embassy Eyes, she never mentioned him by name, but he was “the young secretary in a foreign embassy” who took her to the lakeside beach on June 30. He was a tall, blond, handsome first secretary in the Soviet Embassy, and, because he had served earlier as the press secretary, was well known to American correspondents in Berlin. They found him to be good company when Martha would bring him by Die Taverne, the Italian restaurant where they gathered in the evenings.
The other important new person in Martha’s life was Mildred Harnack, a fellow midwesterner who found herself in Germany. She had met Arvid Harnack, a German exchange student, at the University of Wisconsin and soon married into his distinguished, scholarly Prussian family. In 1929, the couple moved to Germany, and Mildred at first taught classes on American and British literature at the University of Berlin and later at a night school for adults. Watching the impact of the Depression on her students, she noted their sense of weariness since they knew “they had no future.” Like her German husband, she was troubled by the rise of the Nazis, but she was confident that they would fail to seize power. “It is said by people who are capable of estimating the present situation that no such dictatorship as is in Italy can be erected in Germany,” she wrote on July 24, 1932.
Mildred’s confidence flowed from her faith that there was already an alternative model that would serve as the solution to the crisis of the capitalist system. She and Arvid had visited Russia, where she was awed by the atmosphere of “hopefulness and achievement.” She enthusiastically explained in a letter to her mother that the country was “the scene of an enormously important experiment in loving your neighbor as yourself.” Back in Berlin, the Harnacks became regular guests at Soviet Embassy receptions.
Once the Nazis came to power, the Harnacks had to be careful to hide their political views, and Mildred avoided any more pro-Russian commentaries in her letters home. But when she met Martha, the two instantly hit it off. Mildred and Martha, with her new political outlook and Soviet lover, felt free to share their private thoughts with each other. And they were both quick to pass judgment on those who they felt hadn’t seen the light the way they had. Martha professed herself “amazed at the naïveté” of any Americans who still could have profascist leanings, seemingly oblivious to the irony that she would make such a statement so soon after her own conversion.
On May 27, 1934, Mildred, Martha and Boris—along with Heinrich Maria Ledig-Rowohlt, the son of the publisher Ernst Rowohlt—drove to the farm of writer Hans Fallada, whose 1932 novel Little Man, What Now? was a huge bestseller in Germany and a major hit abroad. While the Nazis liked his grim portrayal of life in Weimar Germany, they were highly suspicious of him. Fallada tried to skirt current politics and even sought to ingratiate himself with the Nazis on occasion. Nonetheless, as numerous press attacks on him indicated, the lack of ideology in his books was enough to make the authorities discern an undercurrent of dangerously independent thinking.
But Martha was irritated by Fallada’s decision to concentrate on his life on the farm with his wife and children, and his ostensibly apolitical writing. “He was isolated from life and happy in his isolation,” she wrote reproachfully. From their conversation, she continued, “though I got the impression that he was not and could not be a Nazi—what artist is?—I felt a certain resignation in his attitude.” Mildred was less judgmental, telling her companions that Fallada was a man with a conscience. “He is not happy, he is not a Nazi, he is not hopeless,” she said. In fact, Fallada’s last novel, Every Man Dies Alone, which he wrote right after World War II, would prove to be one of the most powerful fictional portrayals of the horrors of life in Germany under Hitler—and of the terrifying price that anyone paid who dared to resist the Nazis.
That summer, with Vinogradov’s help, Martha made her first pilgrimage to her new ideal state: Russia. “I had had enough of blood and terror to last me for the rest of my life,” she declared by way of explaining why she was eager to take a break from Germany. And, of course, what other country was freer of blood and terror than the Soviet Union? From the moment she set foot in Moscow, and probably even before she made her trip, her blind admiration of Stalin’s Russia knew no bounds, even exceeding her earlier zeal for Hitler’s Germany. There was a complete lack of militarism, arrogance, insolent behavior and regimentation, she giddily reported. The Bolshevik Revolution had been a triumph for humanity. “One felt in Moscow that the struggle was over, that the fruits of victory were being cherished and enjoyed by everyone.”
While she confessed that there was still some startling poverty, every
thing was being done to eliminate it, she insisted. Stalin was setting an example by living modestly, the workers were living happily in their workers’ state, and “the conscience and idealism that lie latent in most mankind were being stimulated and awakened in me,” she wrote. That didn’t prevent her from boasting that she was served caviar three times a day on a Volga cruise ship, along with “marvelous nourishing Russian soups, excellent meats, butter, ice cream, fish…” Or from “marveling over the fact that everything good in life was being supplied for the vast majority of the population.” Unlike Germany, she added, Russia was “almost like a democratic country,” and threatened no one.
Despite her new anti-Nazi, pro-Soviet orientation, Martha was still the same woman when it came to matters of the heart. When she returned to Germany, she was, as always, more than eager to associate with any man who looked glamorous to her, no matter what his views. This was certainly the case with Thomas Wolfe, whose novel Look Homeward, Angel was a smash hit in Germany as elsewhere. When he visited Berlin in 1935, the young but already widely known writer was treated like a conquering hero. Arriving in Berlin, he was greeted at the American Express office by a huge number of letters, telegrams and phone messages from journalists, diplomats and admirers, all seeking to see him. Describing all this in a letter to his editor Max Perkins, Wolfe marveled that “for the last two weeks at least I have been famous in Berlin.”
As Martha put it, “Tom, a huge man of six foot six, with the face of a great poet, strode the streets, oblivious of the sensation he created… To the desolateness of the intellectual life in Germany, Thomas Wolfe was like a symbol of the past, when great writers were great men.” Wolfe had visited Germany in the mid-1920s, and his fond memories of that era combined with his recent literary successes there prompted him to feel that Berlin was still a magical place. In his letter to Perkins from Berlin, he declared: “I feel myself welling up with energy and life again…” He had finally finished a new novel, Of Time and the River, and he was reveling in the adulation he found in Germany, going from party to party, where he was always the center of attention.
“Part of Tom’s uncritical attitude towards Nazism can be explained by his own state of delirium,” Martha wrote. Her own forgiving attitude was just as easy to explain: she loved escorting a celebrity like Wolfe around town and adding him to her list of conquests. It was a tempestuous affair, with Martha often reprimanding him for his heavy drinking. Decades later, Ledig-Rowohlt, the son of his German publisher, revealed to an interviewer a conversation that he and Wolfe had about Martha. Wolfe told him that Martha was “like a butterfly hovering around my penis.”
Wolfe indicated that he did notice some “disturbing things” during his 1935 visit to Germany, but it wasn’t until he returned in the summer of the following year that his intoxication with his reception there wore off and he began to recognize what Nazi rule meant in practice. In an interview that Ledig-Rowohlt arranged for him with the Berliner Tageblatt, he still waxed poetic about Germany’s virtues. “If there were no Germany, it would be necessary to invent one,” he declared. “It is a magical country. I know Hildesheim, Nuremberg, Munich, the architecture of Germany, the soul of the place, the glory of her history and art.” But, as Martha explained, Wolfe returned to Germany “a much soberer person, this time eager to learn what lay beneath the surface of Nazi success and effectiveness.”
After that visit, Wolfe wrote I Have a Thing to Tell You, a novella that was spread over three issues of the New Republic in March 1937; he later expanded his story and made it part of You Can’t Go Home Again, one of two novels that were published after his death from a brain disease in 1938, before he reached his thirty-eighth birthday. The novella is unabashedly autobiographical in terms of Wolfe’s feelings about Germany. It is the story of an American writer as he leaves Germany, “that great land whose image had been engraved upon my spirit in my childhood and my youth, before I had ever seen it… I had been at home in it and it in me.”
But this Germany is one that the narrator realizes he must leave for the last time. A German friend frets about losing his job, his mistress and possibly even his life because “these stupid people”—the Nazis—are capable of anything. At the same time, he warns the American that he must not write too truthfully about what he observed, since the authorities would then ban his books and destroy his exalted reputation. “A man must write what he must write,” Wolfe’s narrator and alter ego replies. “A man must do what he must do.”
As the narrator’s train leaves Berlin behind, he muses that the people he knew there were “now remote from me as dreams, imprisoned there as in another world.”
Soon, though, the American finds himself cheered by his lively, friendly companions in his compartment. Even “a stuffy-looking little man with a long nose,” who fidgets throughout the trip and initially made the other passengers uncomfortable, gradually loosens up and joins in the convivial conversation. Reaching the frontier at Aachen, they all get out for fifteen minutes while the locomotive is changed. The little man says something about needing to pick up a ticket for the rest of the journey, and slips away. The others walk around before returning to the platform to reboard.
As the returning passengers look from the outside, they see the fidgety man—his face now “white and pasty”—sitting in their compartment facing a group of officials. The leader of his interrogators is “a Germanic type… His head was shaven, and there were thick creases at the base of his skull and across his fleshy neck.” Even before he learns that his fellow passenger was a Jew who was trying to escape and smuggle money out in the process, the American narrator felt “a murderous and incomprehensible anger” welling up in him. “I wanted to smash that fat neck with the creases in it,” he writes. “I wanted to pound that inflamed and blunted face into jelly.” But he admits to his sense of helplessness, which is shared by everyone around him. Feeling nauseated, he watches as the officials escort the man off the train.
As the train pulls out of the station, the narrator and the others look at him for the last time. He looks back. “And in that glance there was all the silence of man’s mortal anguish,” Wolfe writes. “And we were all somehow naked and ashamed, and somehow guilty. We all felt somehow that we were saying farewell, not to a man, but to humanity.”
The American’s sense of remorse and anger is only heightened by the advice of an attractive blond woman in the compartment, whom he had found seductively appealing, with “an almost shameless physical attraction.” She tries to talk the others in the compartment out of their glum mood. “Those Jews!” she says. “These things would never happen if it were not for them! They make all the trouble. Germany has to protect herself.”
As the German friend in his novella had predicted, the publication of I Have a Thing to Tell You led to the banning of Wolfe’s books in Germany, and he never returned to that country. In an interview in the Asheville Daily News, his North Carolina hometown paper, Wolfe talked about his last trip to Germany. “I came away with the profoundest respect and admiration for the German people, but I feel that they are betrayed by false leadership,” he declared. Reflecting more broadly on his European experiences, he added: “I saw a certain perfection and finish in European life that we do not have here. However, there is a poisonous atmosphere of hatred. I finally wanted to come back home.”
Despite the title of his posthumous novel, Wolfe did make it home.
8
“A Mad Hatter’s Luncheon Party”
During the summer of 1936 when Thomas Wolfe visited Berlin for the last time, it was “the season of the great Olympic games,” as he wrote in his novel You Can’t Go Home Again. George Webber, his alter ego and main character, observed how “the organizing genius of the German people… was now more thrillingly displayed than he had ever seen it before. The sheer pageantry of the occasion was overwhelming, so much so that he began to feel oppressed by it.” Webber—in reality, Wolfe—felt oppressed because he was acutely conscious of the
ominous nature of this pageantry. “It so evidently went beyond what the games themselves demanded… It was as if the games had been chosen as a symbol of the new collective might, a means of showing to the world in concrete terms what this new power had come to be.”
The irony was that Hitler and the Nazis had a long history of virulent opposition to the whole idea of holding the Olympics or other international sporting events in Germany. In 1923, the Nazis had protested against the German Gymnastics Festival that was held in Munich because it was open to “Jews, Frenchmen and Americans,” as a petition that Hitler signed put it. In 1932, right before taking power, the Nazi leader called the Olympics a “plot of Freemasons and Jews”—even though the decision to bring the games to Berlin had already been taken a year earlier. And once the Nazis were in command, they still chafed at the notion of an international competition that would include Jews and blacks. The Völkischer Beobachter fumed that it was “a disgrace and a degradation of the Olympic idea” that blacks could compete with whites. “Blacks must be excluded,” it concluded. “We demand it.”
But Hitler and the Nazis also insisted that the young should be physically fit, engaging in a broad array of sports training on a regular basis. The idea was to strengthen the bodies and aggressive character of their young followers, as well as their allegiance to the movement. “For us National Socialists, politics begins in sport—first, because politics guides everything, and second, because politics is already inherent in sports,” declared Bruno Malitz, who was in charge of sports for the Berlin storm troopers.
Right after the Nazi takeover, Theodor Lewald, the president of the German Olympic Committee and a fervent promoter of hosting the games in Berlin, set up a meeting with Hitler, Goebbels and Interior Minister Wilhelm Frick to convince the new rulers to support his cause. He argued that the games would more than pay for themselves because of the revenue they would generate—and, more important, there would be an “enormous propaganda effect.” Conjuring up the image of about 1,000 journalists converging on Berlin for the games, he pointed out that nothing could “even remotely match” their propaganda value. This proved to be a winning argument.
Hitlerland Page 22