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Mr Norris Changes Trains

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The narrator, William Bradshaw, lives there nicely as an expat giving English classes and enjoying life. This is pretty much all that we know about him, he doesn’t even explicitly reveal his sexual orientation. In fact, this first person narrative tells us very little about narrator and focuses entirely on the person of Mr Norris, a perfect English gentlemen, a charming scoundrel. il terzo romanzo scritto da Isherwood. Per me invece fu il suo secondo che lessi, ma quello per cui mi innamorai della sua scrittura e del suo mondo: infatti ho poi proseguito con un’altra manciata di sue opere ( La violetta del Prater, Un uomo solo, Ritratto di famiglia, Leoni e ombre, Incontro al fiume). Doyle, Rachel (12 April 2013). "Looking for Christopher Isherwood's Berlin". The New York Times. New York City. p.TR10 . Retrieved 11 February 2022. Anni lives with Otto, her pimp, an enormously strong, good-natured working class man, middleweight champion of his local boxing club (p.57). It is a recurring comic motif that he insists on shaking William’s hand whenever they meet, and crushes it so hard, it takes a while for William to recover feeling in it. Or slaps people so hard on the shoulder that they nearly fall over.

Baron von Pregnitz aka Kuno – a scary drawling nightclub denizen, rimless monocle screwed intimidatingly into his pink face as if by some horrible operation (p.28) 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).Ocr tesseract 5.0.0-alpha-20201231-10-g1236 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9854 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-NS-2000324 Openlibrary_edition Isherwood 1976, Chapter 1: "To Christopher, Berlin meant Boys... Christopher was suffering from an inhibition, then not unusual among upper-class homosexuals; he couldn't relax sexually with a member of his own class or nation. He needed a working-class foreigner. He had become clearly aware of this when he went to Germany in May 1928." They were suddenly proud to be blonde. And they thrilled with a furtive, sensual pleasure, like schoolboys, because the Jews, their business rivals, and the Marxists, a vaguely defined minority of people who didn’t concern them, had been satisfactorily found guilty of defeat and the inflation, and were going to catch it.” Stansky, Peter (28 November 1976). "Christopher and His Kind". The New York Times. New York City. p.260 . Retrieved 11 February 2022. Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7– via Internet Archive.

Lehmann 1987, p.18: "Jean Ross, whom [Isherwood] had met in Berlin as one of his fellow-lodgers in the Nollendorfstrasse for a time, when she was earning her living as a (not very remarkable) singer in a second-rate cabaret."urn:lcp:mrnorrischangest0000ishe:epub:e7e62b5e-1328-492a-befd-4da5b353c2dd Foldoutcount 0 Identifier mrnorrischangest0000ishe Identifier-ark ark:/13960/t6941xr7d Invoice 1652 Isbn 0749386819 Ocr tesseract 5.0.0-alpha-20201231-10-g1236 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9794 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-NS-2000244 Openlibrary_edition Come mi accadeva quand’ero lasciato a me stesso, cominciai a esaminare il suo parrucchino. Forse lo fissai con troppa sfacciata insistenza perché, alzando d’un tratto gli occhi, egli si accorse della direzione del mio sguardo e mi fece trasalire, domandandomi semplicemente: The name of the narrator, William Bradshaw, is drawn from Isherwood's full name, Christopher William Bradshaw Isherwood. In subsequent novels Isherwood changed the narrator's name to "Christopher Isherwood", having come to regard "William Bradshaw" as a "foolish evasion". Isherwood did not explicitly claim that he was William Bradshaw although the novel describes Isherwood's own experiences. He sought to make the narrator as unobtrusive as possible so as to keep readers focused on Norris. Although Isherwood was living more or less openly as a homosexual, he balked at making Bradshaw homosexual as well. In part this was to help the average reader identify with the narrator by minimising the differences between the narrator and the reader. Not to do so meant that "The Narrator would have become so odd, so interesting, that his presence would have thrown the novel out of perspective. ... The Narrator would have kept upstaging Norris's performance as the star." Isherwood's decision had a more pragmatic reason as well; he had no desire to cause a scandal and feared that should he cause one his uncle, who was financially supporting him, would cut him off. Yet Isherwood had no interest in making Bradshaw heterosexual either, so the Narrator has no scenes of a sexual nature. [9] Well, maybe this attitude of regret was appropriate enough for Isherwood in later life, but I don’t think we need to be limited by his perspective. Things have moved on since he wrote that. I can think of at least two comic movies about the Nazis which have been well received in our times ( Jojo Rabbit and Life is Beautiful) and nobody seems to have questioned the 1972 movie Cabaret for its comic or silly interludes.

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