The sound stage
1941
‘It was on the radio’
1942
‘I knew you’d wait’
1943
‘Happy and victorious’
1944
‘We’re all serious’
1945
‘It’s a labour of love’
About the Author
Also by the Author
About the Publisher
Introduction
This is how it started. It was Friday afternoon – exactly 2.20 pm – and the snow was falling. The flakes that hit the car’s windscreen were not the soft, watery sort that slide downwards and fade away like old soldiers. These were solid bullets of ice, perfectly formed and determined to stay put. These were German snowflakes. Our elderly Volvo was on the road heading west from Munich, with the cold waters of the Ammersee close at hand and my sons on the back seat politely starving to death. My wife was at the wheel. ‘The next place we see; we stop,’ I said. ‘It’s getting late. I don’t care if it’s just a currywurst van parked on the roadside.’
The ‘next place’ was the Gasthof Kramerhof. It was a typical Bavarian inn, with a large restaurant that attracted locals and a few well-kept rooms for travellers. It was sited well back from the road and had an extensive parking area, which is often a measure of an inn’s popularity. Now lunchtime had ended and there were no cars there. The loops of tyre tracks that marked their departure were now disappearing under the continuing snowfall. But in such a Gasthof all travellers are welcome and mealtime lasts all day. Soon we were relishing a Bavarian meal: kraftbrühe – clear soup – followed by pork cutlets in a sour cream sauce with spätzle on the same plate. Had I been better informed about German food I might have guessed that the owners were Schwabs, for these were the long square-sided ‘pasta’ that is a delight of Schwabian cooking.
Outside, the snow was conquering the world. The sky was steely grey and descending upon the treetops. Stacked on the Volvo’s oversized roof rack, our bags and boxes now looked like a scale model of the Alps. What else was there to do? We stayed there for the weekend. That’s all it took for the Kramerhof to become our home and we remained there for many months. From the hotel room we moved one floor higher where I set up my portable typewriter in the attic rooms originally furnished for a mother-in-law. It was cramped under the steeply sloping roof and I banged my head a lot but this was the sort of Germany I wanted to write about. All the events of the neighborhood were celebrated there under our noses, from weddings – complete with amateur brass band – to hunting-dinners from which the smell of wine-rich venison drifted upwards to reach us in the early hours of morning.
My wife’s fluent German impressed the lady in the village post office and we soon knew everything about everyone. There was enough social life to furnish a dozen lurid novels. Retired military men abounded. I met a relative of General Gehlen, one of the very few spies who influenced history. The Kramerhof food was wonderful, the customers were entertaining and the owners became friends. They allowed us into the well-ordered kitchen where we learned how to make Schwabian spätzle and much more.
Winter was a biography of the Germany I had come to know over the years. We had lived in Vienna and in an Austrian village near Salzburg, which was now not all that far away, and my sons spoke a strongly accented German. For many Germans, and many historians too, Germany and Austria do not have a separate existence. AJP Taylor, who taught me so much about German history, persuaded me to consider both in unison and for that reason the story of Winter begins in Vienna. One of our neighbours in Riederau village had a son writing for a newspaper in Vienna. At my request, he rummaged through the archives to find out what the weather was like in Vienna on ‘the final evening of the 1800s’. Now I had no excuse for delay.
I knew what I wanted to say; I had been planning it for years. My hesitation had come from the problems of continuity. In the beneficial absence of formal instruction in the skills of writing fiction, I found it natural to write sequences in ‘real time’. In my book conversations and physical actions as depicted were apt to take about the same time as the reader took in reading about them. Of course there were expansions and compressions so that only the highlights of dinner party chit-chat were necessary; split-second reactions were expanded to encompass thought and reactions. But now I was going to relate the events of fifty years; I faced many problems I never even guessed about. Somerset Maugham, a writer I much admired, would often write in the first person of a man who observed the events of which he wrote. Maugham’s voice was apt to bridge his narrative with ‘…it was three years before I was to see either of them again, and it was in very different circumstances’. As a reader I rather delighted in this voyeur writer but I didn’t feel confident enough to use such leaps in time. And the frantic pace of German history would not survive a leisurely survey.
I sought advice from my literary agents Jonathan and Ann Clowes – the most widely read friends I have – and examined several family saga novels, old; and new. There was a lot to learn. More than once I decided to abandon my project but while I was sorting and sifting my research notes the solution became evident. I would eliminate connective material. My chapters would be brief human interactions, like flashes of lightning illuminating long nights of darkness. This format would require careful selection of material so that each chapter provided a vital link in the story. And yet Winter must not be a history book; it had to be an interesting and emotive story of a family living through Europe’s nightmare past.
I returned to Vienna. Vienna is a town different to any other that I know. The small central area is defined by the Ringstrasse around which, according to his son, the amazing Sigmund Freud ‘marched at a terrific speed almost every day’. Vienna is not so much a town as a spectacle: if you don’t want to visit Sankt Marxer Friedhof – where Mozart’s corpse was tossed into a common grave – you can chew on the famous chocolates that bear his name. If you don’t like the music of Mahler, what about Franz Lehar? If Klimt is too opulent, what about Schiele? If you don’t like the Hotel Sacher; savour your Sachertorte in Demels. If you don’t fancy Graham Greene’s sewers; seek Harry Lime on the big wheel in the Prater. Vienna has something for everyone; from the Wiener Werkstätte to the Wienerwald. Within the Ringstrasse there are more churches, historic buildings, restaurants and shops than anyone needs. But the greatest wonders of the city are its magnificent old cafes. So you can see why, for anyone inflicted with insatiable curiosity, or easily diverted, Vienna is no place to write books.
I chose Munich because that city uniquely links Vienna with Berlin. The inhabitants of these three great German cities view each other with dispassionate superiority. While the mighty Austria-Hungary Empire dominated Europe, Vienna ruled. It was Bismarck, and the Prussian armies that in 1870 marched into Paris, that displaced Vienna and established Berlin’s ascendancy. At the turn of the century, Berlin’s music hall comics got guaranteed laughs from jokes that depicted Bavarians and the Viennese as hopeless country bumpkins. But Hitler changed all that. Hitler was an Austrian and his Nazi Party was born in Munich and when Hitler named that town as the Hauptstadt der Bewegung – ‘capital of the movement’ – all jokes about its citizens were hushed.
I visited all three cities frequently while working on this book but Munich was the place where it all began. My sons attended a local boarding school at Schondorf, and put their Austrian accents
