MO: It was I who found you on the filthy streets of Berlin and brought you to Hollywood. My mistake was to fall in love. I ought to have known that you were unfaithful to the core.
MADOU: You knew about my history before you met me.
MO: Yes, I saw you posing for photographs with violets and lavender at your groin. I know all about Gerda. And that other woman who sang that song, Margo. Margo Lion.
Yes, he knew all about them. That stupid song they would sing at the cabaret. What was the song?
MADOU: ‘My Best Girlfriend.’
MO: Yes, that absurd song. Drawing attention to yourself in that revolting manner.
MADOU: Why don’t you stop bouncing up and down like a rubber ball.
MO: So it was Berlin. I know you were curious, and wanted to try everything, but don’t forget it was my idea to introduce you to Hollywood with that Sapphic kiss. Full on the mouth. Dressed in men’s evening clothes, and top hat. My idea. Not Yours. I changed your name from Maria to Joan.
As he continues his ranting monologue, her face turns very still. Only her eyes move. I know she is thinking over the Berlin scenes she has talked of so often when we are alone. Her mind is drifting back to the bare-breasted whores who chatted with clients at the Café Nationale. The rent boys, on every corner, flicking their whips, dressed in leather and feathers. The White Mouse, on the Behrenstrasse, where Anita Berber danced her naked dances of Horror, Lust and Ecstasy, wearing her drugs in a silver locket around her neck. The little hotels in the Augsburger Strasse, where you could rent a room for an hour. God, how she missed that life. So much colour, so much excitement.
Mo was a fool. She alone had taken her inspiration for Lola Lola from the cross-dressed boys from the cabaret. One of the blonde transvestites she especially admired wore ruffled panties, a feather boa, and a white silk top hat. The boys treated her like a sister, and they went dancing; she in her men’s tails and top hat. She liked to wear her dead father’s monocle. It made her feel close to him.
Of course she preferred women, but they were impossible to live with. Mo knew about her past. Why did he insist on being so bourgeois? She lights a cigarette and turns around.
‘You know, Mo, in America, sex is an obsession, in the rest of the world it’s a fact.’
He suddenly bursts into laughter. She can always make him laugh, even when he’s angry with her. He bends down to kiss the nape of her neck. He is sorry. He should not have read the letter, which she left open for him to see.
Mo was obsessed by her from the first time he saw her in that beastly revue, Two Neckties. He had almost given up hope of finding his Lola Lola, when, by accident, he saw her in the play. The first time he laid eyes on her, she was standing offstage, leaning by a pillar, and she looked aloof and bored. She spoke only one line. She was wearing a conventional dress, but when she twirled around, she showed her underwear.
But it was her face – that face, so exquisite, but with the promise of devilry. What he loved was her nonchalance, and her cold disdain in the face of the knowledge that a famous Hollywood director was in the audience. She was equally indifferent when he invited her to his office for a screen test. She looked bored, and made no effort to be charming, and that was what interested him, poor little fool.
He asked her to sit on top of a piano and sing a ditty. She complied, but was sullen and dragged on a cigarette, blowing smoke out of the side of her mouth. She was asked to sing a song in English. The pianist, though able, was unfamiliar with the tune, although tried his best to accompany her rather mediocre singing, it must be admitted. Madou knew her limits.
Every time he made a mistake, she berated him, ‘It’s music, remember. Call that piano playing? How can I sing to that rubbish? You’re not playing a washboard, jerk!’ And again: ‘What do you have for brains?’
Pale with anger, she climbed down from the piano, and she slapped him, hard, across the head: ‘And I have to sing this crap – just don’t screw up again, or I’ll kick you.’
She knew that the studio executives, brought over from Hollywood, were horrified by her open contempt for a fellow artist, but Goldberg was delighted. This crass, uncouth, trampy woman was exactly what he had been searching for. He had found his Lola Lola; seducer of men, corrupter of morals, careless, contemptuous and carnal.
Mo knew that she could love no one, only herself. But that skin; white as milk, Parian marble, semi-translucent; pure white and entirely flawless.
He saw that she was so utterly beautiful, even before she was beautiful. He knew what he had to do; he would dominate her with his light to create perfection. That way she would never leave him.
The review scene was the last time that my mother and Mo were really happy. All of a sudden, she had important issues to discuss with her leading man – the man she used to loathe, with fingers like sausages. For days, I was barred from her dressing room. Goulash no longer bubbled on the stove. Nellie kept guard and gave me dollars to spend in the commissary. There was a new chocolate malted that she wanted me to try. On the way, I saw Mr Goldberg. He looked sad.
Was I starving! I ordered hot dogs with onions, mustard, and ketchup; potato chips; corn on the cob, oozing warm butter. I crammed it into my mouth, relishing each morsel, away from Mother’s prying eyes.
‘You want apple pie, honey? Whipped cream and ice cream?’
I nodded. The lady was so nice.
‘It’s good that you enjoy your food, honey. I like to see a young girl who appreciates her food. You want more?’
My empty plate was my answer. I pushed it over the counter before she changed her mind.
People liked to feed me, I guess it’s because they felt sorry for me. The more I ate, the thinner my mother became. I remember when I first began to eat alone. It was that day at the commissary, when the nice lady had pity in her brown, knowing eyes. I felt ashamed. That afternoon, I ate and ate. I took cookies and a huge tub of ice cream, and found a secret corner to eat. I ate quickly, not savouring the taste but stuffing my mouth as though my life depended on it. It felt so good to eat alone. All I could think about afterwards, was when I could eat again. And how I could get the food, without my mother knowing.
And here’s the thing, I got to be good at it. Really good at it. The secrecy was thrilling. I had my favourites: Kraft macaroni and cheese, Wonder Classic white bread, Charleston Chews, Bumble Bee tuna, Lay’s sour cream and onion chips, Wheat Thins, Yodels, Ring Dings, Cheese Nips.
When I had obtained my stash (often via my kindly bodyguard) I would ask permission to go to my bedroom, and then I would turn on the electric fan to disguise the rustle of paper. One night, I ate half a chocolate cake. I especially loved candy, and when I’d finished, I folded the wrappers into tiny squares so that they could be hidden away. No one would know my little secret.
And how could it be bad when it made me feel so good, so warm inside? Here’s the thing: food was my friend. It didn’t insult me, or ignore me, or judge me. It was the gift that kept on giving. The discomfort was a small price to pay, the tightness of the waistband of my dress, which chafed my skin, the back ache, the stretch marks.
Compulsive eating: it creeps up on you, and before you know it, it feels like a thousand lead weights bearing down on you. But by then it’s too late to stop. I ate when I was sad, when I was bored, when I was feeling bad about myself (most of the time), and when I was lonely. Can you imagine how it feels to be a child who is heavier than her mother? Here’s another funny thing about compulsive eating. I truly believed that the