As the author reveals in the afterword, although many of the characters are fictional, Stella herself is based on a real historical character. And Takis Würger’s personal connection to the story that unfolds is underlined by the book’s dedication to his great-grandfather, killed by the Nazis in 1941.
Arriving in the city of Berlin in January 1942, Friedrich falls immediately under the spell of the woman he initially knows as Kristin, but whose real name is later revealed to be Stella Goldschlag. It’s no wonder Friedrich is dazzled by Stella; she’s beautiful, spirited and uninhibited. Through her, Friedrich meets the equally larger-than-life Tristan von Appen, one of whose idiosyncrasies is his habit of addressing Friedrich as ‘old boy’. (It reminded me rather of Jay Gatsby’s habit of addressing Nick Carraway as ‘old sport’ in The Great Gatsby.) Soon Friedrich finds himself rubbing shoulders with senior Nazis at a garden party where the champagne flows, music plays as the guests enjoy a lavish buffet. As Friedrich reflects, ‘You could have forgotten we were in wartime’.
The story unfolds month by month with each chapter commencing with something akin to a news report in which mundane items appear side-by-side with more chilling material. So, for example, May 1942’s report includes the news that Bing Crosby and other musicians have recorded the song “White Christmas” in New York, the monthly fat ration has been cut and there has been an assassination attempt on Reinhard Heydrich. Many chapters also include extracts from witness statements concerning Jews arrested and sent to concentration camps as a result of being denounced by informers, the relevance of which only gradually becomes apparent.
As the months go by, Friedrich slowly awakens to the realities of what is taking place in Berlin. “Every day in Germany I had been going through this, acting as if I could live with what was happening to the Jews in Germany. I had put up with the flags with swastikas and with the people greeting me and roaring at me with their right arms outstretched.” The revelation of the nature of Stella’s involvement sees him attempt to protect her. This leads to a surreal scene in which Friedrich is forced to play a game of cards in the office of Dobberke, the head of a detention centre, whilst negotiating a deal for the release of prisoners involving bacon.
Duality and performance are themes of the novel. So while the Reich outlaws “degenerate” art, Nazi officers visit illegal jazz clubs where the music of Jewish composers is played. And while the citizens of Berlin endure food rationing, hard cash can buy the finest luxuries for those in the know. Stella remains an enigma, and the consummate performer. Even Friedrich comes to recognise this fact. “This woman contained so many roles within herself: the artist’s model, the singer with the breathy voice, the beauty in my bathtub, the penitent, the liar, the victim. Stella Goldschlag, the woman I loved.”
Stella is a powerful story of naivety, betrayal and the limits of love which also explores the impossible choices people are forced to make in times of war.
Arriving in the city of Berlin in January 1942, Friedrich falls immediately under the spell of the woman he initially knows as Kristin, but whose real name is later revealed to be Stella Goldschlag. It’s no wonder Friedrich is dazzled by Stella; she’s beautiful, spirited and uninhibited. Through her, Friedrich meets the equally larger-than-life Tristan von Appen, one of whose idiosyncrasies is his habit of addressing Friedrich as ‘old boy’. (It reminded me rather of Jay Gatsby’s habit of addressing Nick Carraway as ‘old sport’ in The Great Gatsby.) Soon Friedrich finds himself rubbing shoulders with senior Nazis at a garden party where the champagne flows, music plays as the guests enjoy a lavish buffet. As Friedrich reflects, ‘You could have forgotten we were in wartime’.
The story unfolds month by month with each chapter commencing with something akin to a news report in which mundane items appear side-by-side with more chilling material. So, for example, May 1942’s report includes the news that Bing Crosby and other musicians have recorded the song “White Christmas” in New York, the monthly fat ration has been cut and there has been an assassination attempt on Reinhard Heydrich. Many chapters also include extracts from witness statements concerning Jews arrested and sent to concentration camps as a result of being denounced by informers, the relevance of which only gradually becomes apparent.
As the months go by, Friedrich slowly awakens to the realities of what is taking place in Berlin. “Every day in Germany I had been going through this, acting as if I could live with what was happening to the Jews in Germany. I had put up with the flags with swastikas and with the people greeting me and roaring at me with their right arms outstretched.” The revelation of the nature of Stella’s involvement sees him attempt to protect her. This leads to a surreal scene in which Friedrich is forced to play a game of cards in the office of Dobberke, the head of a detention centre, whilst negotiating a deal for the release of prisoners involving bacon.
Duality and performance are themes of the novel. So while the Reich outlaws “degenerate” art, Nazi officers visit illegal jazz clubs where the music of Jewish composers is played. And while the citizens of Berlin endure food rationing, hard cash can buy the finest luxuries for those in the know. Stella remains an enigma, and the consummate performer. Even Friedrich comes to recognise this fact. “This woman contained so many roles within herself: the artist’s model, the singer with the breathy voice, the beauty in my bathtub, the penitent, the liar, the victim. Stella Goldschlag, the woman I loved.”
Stella is a powerful story of naivety, betrayal and the limits of love which also explores the impossible choices people are forced to make in times of war.