The Brothel in Rosenstrasse vb-2 Read online

  I congratulate her on the cleverness of her deception. Papadakis has returned. I hear him pushing furniture about in the next room. With a rustle of that seductive costume she seats herself beside me and whispering asks me if I have made arrangements to visit Rosenstrasse. I have sent a note to Frau Schmetterling. We shall be expected. In his famous Pamety - his memoirs - Benes Milovsky recalls a stream running the length of Rosenstrasse. It had its source in the hills beyond the walls and it fed into the Ratt. This stream became subterranean by the middle of the century. It forms the basis for a sophisticated modern sewage system and can still be heard running beneath the Rosenstrasse cobbles.

  In the afternoon we visit the Museum of Antiquities, the concrete traces of fifteen hundred years of history. A diorama represents Waldenstein's primitive settlers, the Svitavian tribesmen who built their camps in the great valley of the Ratt, between four ranges of mountains, fighting off the Teutonic invaders when they swept in during the ninth and tenth centuries. No Roman ever set foot in any settlement along the Upper Ratt. The diorama gives a lie to the sentimental nationalists. The present descendants of those tribes are no more'true Slavs' than they are'true Aryans'; the blood has mingled thoroughly to produce the Waldensteiner. But blood these days has become another word for ambition, a justification of greed, a rationalisation of those frustrated in their political needs, an excuse for terrible murder, a counterbalance to the Christianity we all profess to cherish and which certainly checks us in any honest, pagan rapacity we still possess. Men need myths to set against myths, it seems. They need the precedent of 'blood' or their consciences could tell them they are ineffectual, ruthless, wicked, and thus deny them what they want. A woman rarely seeks such complicated excuses; the means by which she disguises her desires usually take quite a different form. They say women substitute sentimentality for principle, that a woman's logic is entirely based upon her own immediate physical and emotional needs; yet men display similar logic, couched in terms of the highest ideals, and trap themselves quite as thoroughly when their actions diverge significantly from their words. Alexandra speaks softly of the wonderful past. She leans on my arm. Her body seems to wish to become absorbed in mine. Antiquity is a thing of broken statues and rusty iron. I am quickly bored with it. We descend the wide steps of the Museum and look across the city at the magnificent Greek church. Although primarily a Protestant city, Mirenburg represents many other religions within her walls; one would not be surprised to see a mosque here. I go with relief to the nearby Municipal Art Gallery. Here are paintings by all the masters, by new painters who take such an optimistic delight in form and light for its own sake. I am soon restored and my spirits lift. Alexandra examines paintings of women, showing me the figures she finds attractive and those which do not please her, and I know she is deliberately setting the scene for this evening. I continue to be astonished by her, by the violence of her determination to experience every fantasy she has imagined. It is almost inconceivable she will not have destroyed herself, or at very least her capacity for sensation and emotion, by the time she is twenty. And yet I still cannot determine which of us exploits the other, though I know °f course what the world would decide. As we drive back to the hotel through the haze of twilight I see the notices advertising evening newspapers. Count Holzhammer, apparently, has returned to Waldenstein. The importance of this news escapes me. Papdakis enters the room. I dismiss him impatiently. In the hotel we begin to prepare ourselves for sophisticated debauchery. My body has never felt more thoroughly alive. I almost gasp as the silk of my shirt touches my skin. Both of us seem to glow with power as we leave the Hotel Liverpool in a cab and drive towards the West Bank. Rosenstrasse is near the river across from the Moravian Precinct, on the very fringe of the respectable Jewish Quarter near the Botanical Gardens, and only a couple of streets up from the Niersteiner Quay with its trees and awnings and little cafes, between two streets which lead down to the quay, Rauchgasse and Papensgasse. In Papensgasse an archway is the only means of reaching Rosenstrasse, once a private street owned by a religious order. The monastery still occupies a site here. From Rauchgasse one enters through a narrow gap between two tall, seventeenth-century houses. There is a single gas-lamp at either end of Rosenstrasse's cobbled surface. The plane trees and flowering chestnuts give an air of isolation, of seclusion to what is an ideal setting for Frau Schmetterling's brothel. It is in some ways more like a country courtyard, even a garden, than an ordinary city street. The high houses make it seem even narrower than it is. These are primarily eighteenth-century terraces, apparently the residences of moderately well-to-do tradespeople. On the eastern side is the oldest building, single-storeyed, roofed in red slate, with no outward-facing windows at all and to one side massive double doors set in a Gothic arch. The doors are black wood bound in dark iron; they open directly into the cloisters of the disused monastery. Ivy grows over the roof and up the walls of the terraces from the unseen garden. Opposite the monastery is a short row of shops: a bookbinder's, an artists' colourman, a seller of prints and old books. Dominating these is a mansion, No. 10 Rosenstrasse. It is well-kept, impressive; the town-house of a wealthy family until the middle years of the century. The windows at the front are always covered from the inside by heavy curtains or from the outside by green wooden shutters. It is a big, square, solid building, as reassuring as the street itself. Opposite there is a terrace, some more small shops and the entrance to a large apartment house occupied mostly by students. As the sun sets Rosenstrasse fills out with soft shadows. The lamplighter comes through the archway from Papensgasse and ignites the gas, then continues on his business down Rauchgasse towards the river. In the warm September night Mirenburg grows drowsy.

  At No. 10 Rosenstrasse shutters are being opened and curtains are being closed, as if the house prepares for guests. Gentle voices can be heard and some laughter. To many travellers Mirenburg is a synonym for Europe's most famous brothel, whose customers speak of it with unqualified affection and respect. Gentlemen will make a diversion of hundreds of miles to spend an evening here. There are women too who will do the same and the friendship they feel for Frau Schmetterling is apparently reciprocated by the madam whose discretion and tact are a byword, as is the range and breadth of her services. The brothel has been described as Mirenburg's greatest treasure. It has become an institution. Those who live near it are almost proud to be associated with it and the few complaints Frau Schmetterling receives are dealt with intelligently and with considerable charm. Her place threatens only those who are patently prone to such threats. It is protected by every authority and tolerated by the Church; important political assignations frequently occur here: one can only enter the doors if one is armed with the most impressive bona-fides. Papadakis tidies the sheets. 'You are too thin,' he says. 'You are wasting yourself.' I ignore him. Alexandra and I step out of the cab in Rauchgasse and pass between the tall white houses into Rosenstrasse. A soft, sultry wind blows through Mirenburg's baroque facades; she seems singularly quiescent. Alexandra's breast rises and falls and her little hand tightens °n my arm. We mount the steps of No. 10. Her eyes have a distant, drowsy look, inturned; at once innocent and secretive. At the end of my bed Papadakis coughs and makes some banal remark. I think he is trying to joke. I shout at him to leave. I hit my arm and ring the bell of Frau Schmetterling's door. It opens. I press Alexandra through and pause, taking a grip on myself. My legs are trembling slightly. The door closes behind us. Trudi, a pretty young woman, perhaps an idiot, with blonde hair and vacant blue eyes, takes our street clothes from us. She curtseys. She is wearing peasant costume. There is distant music. The small lobby is furnished in discreet crystal, with hangings of heavy wine-coloured velvet, some flowering plants on polished wood, a mirror in a modern 'Liberty' frame, and several paintings, chiefly portraits of the last French emperor. The air is heavy with the scent of roses and hyacinths.

  Now Alexandra holds back a little, a wary cat. I smile down at her as we wait to be received. She sm
iles in response, wetting her lips with the tip of her red tongue. Mirenburg has begun to sleep a deeper than usual sleep. Even her bells, when they mark off the hours, seem muffled and distant. A moon rises to touch the purity of her architecture so that it gleams like bone. The waters of the river hardly move. Alexandra makes a small sound in her throat, then looks at me with the adoring expression of a schoolgirl about to have her deepest dreams fulfilled. I steady myself against her violence and find myself,in turn, hesitating. I have a momentary desire to wrench open the door and flee Rosenstrasse, leave Mirenburg behind me, return to the bland formality of Berlin. But then Frau Schmetterling, that dignified matriarch, appears in the lobby and I bow, extending a hand towards her even as a small, swiftly-disguised frown crosses her face. Perhaps she has noticed my hand shaking. She looks towards Alexandra.

  'Dear Ricky,' she says, and takes a key from her delicate pocket. 'Everything you desire is ready for you. You know the blue door, of course.' She puts the key into my hand. 'Good evening,' she says to Alexandra.

  We climb the dark red stairs, our fingers on the bannister's gilded wood. 'She doesn't like me,' whispers Alexandra. 'She doesn't know you,' I reply. We reach the empty landing and walk on soft carpet towards the blue door. The pen is heavy in my hand; suddenly the paper hurts me when I touch it.

  Papadakis comes back to busy himself with pillows and I do not resist him. He puts a glass to my lips. I swallow. Mirenburg enjoys her last tranquil night; she fades. For the moment I let her leave me.

  CHAPTER TWO

  The Brothel

  The brothel in Rosenstrasse has the ambience of an integrated nation, hermetic, microcosmic. It is easy, once within, to believe the place possessed of an infinity of rooms and passages, all isolated from that other world outside. Doubtless Frau Schmetterling creates this impression deliberately, with detailed thoroughness. Reminded of childhood security and delicious mystery, the explorer discovers his cares disappearing, together with any adult lessons of morality or self-restraint. Here he may not only fulfill his desires, but he need feel no guilt or concern for doing so: the brothel can be departed from and visited again at will. Money is all he needs. Here there are anodynes for any kind of wound, there are no sharp voices, no pointing fingers, no complicated emotional involvements. Here a man (and occasionally a woman) may feel himself to be what he most wishes to be. Nietzsche's socially destructive admonitions can be safely followed in this enclosure. The ego is allowed full rein. Yet publicly everyone is discreetly polite and compliant; bad manners are frowned upon and must never be displayed in the salon. A maternal and firm-winded woman, neat and plump, Frau Schmetterling runs her brothel with the skill of the captain of a luxury ship. Most of her working day is spent in her head-quarters, her elaborately-equipped kitchen. This is territory generally forbidden to clients but is a haven for her charges. The kitchen is where Frau Schmetterling interviews new girls and where every day she discusses menus with Ulric, her cook. The room is dominated by a massive oak dresser which stretches from floor to ceiling and displays brightly-decorated plates of outstanding quality from every country in Europe; her collection. What it represents to her nobody knows but she is unquestionably in love with it. She will allow no-one else to handle it or even polish the carved surfaces of the wooden shelves. Shrewd in all other matters, she is easily flattered through her china and the taste she displays in it. She sits in a peasant rocking-chair to one side of the dresser so that she can observe both the long, clean table and her collection. Her servants, such as the simple-minded Trudi (whom Frau Schmetterling personally dresses), make tea, coffee and chocolate for the women as they come and go. Very occasionally Frau Schmetterling will entertain two or three of her special girls here for dinner. Through the barred windows of the kitchen is her garden which she cares for almost as jealously as her china, though she allows 'Mister' to do some of the work. 'Mister' is the enfeebled, grey-haired gentleman with the face of a boy whom she will sometimes describe as her 'protector'. He lives at the top of the house and dotes on her, showing temper only if he feels she has been threatened or insulted. He is in charge of Elvira, the madam's little daughter (who goes to the Lutheran school in nearby Kasernestrasse) when she visits the brothel on Sunday afternoons. Elvira is ten, a demure, dark-eyed creature, and has no idea of the madam's business. If asked, she would say that it had something to do with ladies sewing things, for on Sundays the girls usually gather in the big kitchen after lunch to do their mending. She is, as any child would be, very popular with her mother's charges. 'Mister' must go every day to the house where Elvira is boarded and check that she is properly cared for and has everything she needs. In the brothel he supervises the cleanliness of the rooms; he frequently goes shopping for the girls; he makes sure that fresh flowers are permanently in evidence, that the paint of the shutters and doors is impeccable; that Frau Schmetterling's black chow dogs are walked and fed twice a day. These dogs are not popular with every customer, most of whom have at some time tried to pet and show a friendly interest in them. They seem surly beasts and have been known to nip the odd client. I have always fed them with pate and little pieces of liver and have consequently I believe won their friendship. Frau Schmetterling will often remark to me how much Pouf-Pouf and Mimi love their gentlemen and will add that she judges people very much by how the dogs take to them. This anthropomorphic fiction surrounding pets is a common one of course with many women and it is within their power quite unconsciously to give signals to their animals as to whether they like or dislike a particular person. Therefore I have never really known if I have become popular entirely by means of bribery or whether, for uncertain reasons of her own, Frau Schmetterling finds me attractive. I think I was an early customer of this particular establishment. My father sent me here as a boy to be instructed, so I am often 'her' Ricky and she shows a mother's interest in my career. She possesses signed copies of my little books and seems quite proud of them. Frau Schmetterling is Jewish. Nobody knows her real name. She is well-educated. She is fastidious in her habits, always wearing simple but beautifully-cut old-fashioned dresses trimmed with lace, and she treats 'Mister' with affectionate formality, a queen to her consort. Their mutual respect for each other is touching. Because of her tendency to plumpness, her comfortable homeliness, it is difficult to guess her age, but I believe she must be close to fifty. She speaks several languages very well, and her native tongue seems to be a Russian dialect, suggesting that she was born in Byelorussia or perhaps Poland, ^y girls,' she says, 'are ladies. I expect them to behave accordingly and to be properly treated. In private with a client lhey may choose to be whatever they and the client wish them '° be but at all other times they must behave with tact and'scretion.' The girls, whether on duty or off, are perfectly °sturned. Clients are expected to wear evening dress. I myself am clothed as carefully as if I were attending a formal dinner at the Embassy. Alexandra has on rose silk and a deep green cape. I open the blue door for her and follow her in. Our first impression is of subtle perfume, dark polished wood, mirrors and rust-coloured drapery. The room is lit by a single ornamental lamp. From another part of the brothel comes the faint sound of barking. Everywhere is luxury. Everything is soft or heavy or dark and the young woman who waits on the coverlet of the four-poster seems small and delicate in contrast. She is apparently relaxed and rather delighted by the adventure. 'M'sieu.' She rises and walks up to Alexandra, kissing her prettily on both cheeks. 'Are you French?' I ask. I go from habit to the sideboard and pour absinthe for all three of us. The lady shrugs as if to say that it is for me to decide her nationality. 'What's your name, mademoiselle?'

  'It is Therese'. She has a Berlin accent. Her attention is on Alexandra. 'You are very pretty. And young.'

  'This is Alexandra.'

  Therese is about twenty, with straight black hair drawn back from her oval face. She has light blue eyes. Her skin is pink and her hands are long. In her white undergarments, which are trimmed with peach-coloured lace, her figure is f
uller than Alexandra's and tends to puppy-fat. She has a large nose, prominent red lips, and a self-contained way of holding herself. She has small pointed breasts. I stipulated the colouring of the girl and the size of her breasts in my note to Frau Schmetter-ling. In this familiar ambience I become relaxed and my mood seems to be transmitting itself to Alexandra, who remains, however, a trifle ill-at-ease and begins to move around the room looking at pictures and ornaments. Therese hides her amusement. All three shadows are thrown onto the large autumnal flowers of the wall-paper. Alexandra is a little taller than Therese. Old Papadakis is scowling at me. 'What is it?' I ask him. 'You should let me fetch the doctor,' he says. 'You are not in your right mind. You are weak. You should rest. You are overtaxing yourself.' Is he trying to persuade me to dependency upon him? He cannot be genuinely concerned. I do not employ him for that. 'Go to the village,' I tell him. 'Get me something with cocaine in it.' He mutters in Greek. 'The doctor will give me morphine,' I say. 'It will dull my brain. I need my wits. Can't you see I'm doing something worthwhile again?' I hold up the pages. 'These are my memoirs. You are mentioned in them. You should be pleased.' He comes forward as if to see what I have written. I close the cover. 'Not yet. They will be published when I am dead. Perhaps when you are dead, too.' Therese says to Alexandra: 'Is this the first time you have been here?'