San Sebastián, Spain. Photo by Annemarie Schwarzenbach, 1933.
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@the-ravaged-angel
San Sebastián, Spain. Photo by Annemarie Schwarzenbach, 1933.
"Life demands that we draw our strength from our weaknesses."
Annemarie Schwarzenbach in Escape to the Top (Flucht nach oben), 1933.
"What you mustn't lose is your freedom. I mean, you must maintain your capacity for free choice, and not be afraid of your worries: life is varied and also unsettling, and that's where all its beauty and richness lie.
-But it makes me unhappy! - Gert exclaims unexpectedly and passionately.
Gerald places his hand on his shoulder as if to reassure him.
-You have suffered a great deal,- he says gently,- and you're absolutely right to remind us of it. Pain doesn't tolerate being prolonged; what it desires most is to end, isn't that right?
-I don't want to suffer anymore.
-And you mustn't suffer anymore. You will forget your pain and everything that caused it. You will see that life approaches you in a new, surprising, and adventure-filled way.'"
Bernhard's friends, Annemarie Schwarzenbach
Engadine, Switzerland. Photo by Annemarie Schwarzenbach (1936).a
Marianne Breslauer. Annemarie Schwarzenbach, Pamplona, 1933.
Annemarie Schwarzenbach and Barbara Hamilton-Wright goofing around and making heart eyes at each other. United States c. 1936-1938.
Klaus Mann, November 18, 1906 – May 21, 1949.
With Annemarie Schwarzenbach, Erika Mann, and Ricki Hallgarten.
Annemarie Minna Renée Schwarzenbach (23 May 1908 – 15 November 1942) was a Swiss writer, journalist, photographer and traveler. One of her friends recalled: “She lived dangerously. She drank too much. She never went to sleep before dawn.”
"No one can truly fascinate us, and only a few speak to our hearts. We are nothing more than solitary beings, always at the mercy of our own judgment, which is always uncertain and incapable."
Annemarie Schwarzenbach in Bernhard's friends (Freunde um Bernhard)
Annemarie's dog Doktor. Photo by Annemarie Schwarzenbach, Engadine, Switzerland (1936).
“What does it help me now to think back on the reeling despair that seized me and declare it a mistake! Should I have set out in high spirits with a spring in my step? I did not. Should I have had more faith in the earth's friendly forces and felt certain and invulnerable at the wounding sight of flame-hued horizons? I could not do it, I was terribly vulnerable. Should I have justified myself, raising my eyes to the mountains? Oh, I tried, and always in vain... And so one day I wanted to break away, not knowing exactly from which fate, seeming to grasp only that I had been struck by calamity, as anyone can be, and now must stand apart, silent. How do the others live, I asked myself, how do they bear this land and the day to come, how do they bear it?"
- Annemarie Schwarzenbach, All the Roads Are Open: The Afghan Journey -
Annemarie Schwarzenbach. Bocken, Switzerland (1926).
(credit to Tienne La belette via Pinterest).
this is touching in the extreme 😭
Haven’t seen this picture of Annemarie and the Mann siblings before!
Swith Myth: or, What Even Did Happen Between Carson McCullers and Annemarie Schwarzenbach, Anyway?
When you think of Carson’s life as characterized by unrequited love, and Annemarie’s life as characterized by a surplus of requition, it seems logical that they should have met—to, I think, their mutual frustration. The resulting semi-romance is a very long, slightly Gothic story (but if you want the two-second version, there’s always the ‘Community’ gif of Jeff turning around and the Dean falling to the floor, twitching and gurgling.)
Following the success of her first novel, “The Heart is a Lonely Hunter,” Carson McCullers traveled to New York, where she soon became acquainted with Erika Mann and, via Erika, with Annemarie. Later, in her unfinished autobiography, Carson remembered the meeting this way:
“She had a face that I knew would haunt me to the end of my life, beautiful, blonde, with straight short hair. There was a look of suffering on her face that I could not define. As she was bodily resplendent, I could only think of Myshkin’s meeting with Nastasya Filippovna in the “Idiot”, in which he experienced “terror, pity and love.” She was introduced by Erika as Madame Clarac. She was dressed in the height of simple summer fashion, that even I could recognize as a creation of one of the great Paris couturiers. I did not know that a dear friend of hers picked out all of her clothes, as Annemarie wouldn’t have cared or noticed. She asked me to call her Annemarie right away, and we became friends immediately.”
The next day, Annemarie took Carson out for lunch—Carson ordered milk and buttered toast; Annemarie sipped coffee and regaled her with stories from Egypt; from Turkey; from Syria; from Afghanistan. For Carson, who had never even left the U.S., these stories amounted to something of a revelation. The two stayed out so late that, when Carson went back to the tiny apartment she was sharing with her husband, he furiously demanded to know what she had been doing.
“’Just talking.’
‘Are you in love with Mademoiselle Schwarzenbach?’
I said, ‘I don’t know.’
Quick and powerful as a panther Reeves slapped me on the face, and when I was trying to struggle up, he slapped me again. It was the first time I had ever been slapped in my life, and I was too surprised to speak.”
Afficher davantage
Annemarie Schwarzenbach as Der Rosenkavalier (The Knight of the Rose), Bocken, Switzerland (1922).
“Twilight started to fall when we arrived in Tartus, but we still had time to see the cathedral, that extraordinary monument left there by the Crusaders — a solitary and semi-destroyed testimony of an ardent faith.”
Annemarie Schwarzenbach in Winter in Vorderasien (Winter in the Middle East)
Photos by Annemarie Schwarzenbach.