The Books: “Berlin Diary : The Journal of a Foreign Correspondent, 1934-1941″ (William L. Shirer)

Next book on history shelf:

511APJ9JWWL._OU01_SS130_.jpgNext book on the shelf is Berlin Diary: The Journal of a Foreign Correspondent, 1934-1941 by William Shirer. Last Shirer book I have – this one is, well, what the title says: his diary from those particular years. He was a newlywed, living in Germany. He traveled all over Europe, as a journalist, and broadcaster – chasing down stories. And he happened to be stationed in Berlin during the rise of Adolf Hitler. He had a front-row seat. If you’re into that front-row seat stuff, this is a wonderful book. I’m glad I made it thru Rise and Fall of Third Reich – it’s background, it’s necessary, it’s important … but I prefer Berlin Diary, just in terms of a reading experience. It’s his first-hand impressions of what he saw going on in Germany at that time.

I am going to post a rather innocuous excerpt – I just like it because I like his writing. He broadcast his stories over the radio – he was THE voice of World War II for most Americans. And here is an entry in his diary when he describes what that broadcasting process is like – in Berlin at that time. I especially found the whole censor thing really interesting.


From Berlin Diary: The Journal of a Foreign Correspondent, 1934-1941 by William Shirer.

BERLIN, March 4 [1940]

Last night, by request, I broadcast a piece about the actual routine of broadcasting from here in war-time. Had never stopped to think of it before. Some extracts, for the record: The daily broadcast at six forty-five p.m., New York time, means our talking from here at a quarter to one on the following morning. If I could get gasoline for my car I could drive to the studio in twelve minujtes. As it is, I have a ten-minute walk down the completely blacked-out Wilhelmstrasse to the subway. It is a rare night that I do not collide with a lamp-post, a fire-hydrant, or a projecitng stairway, or flop headlong into a pile of snow. Safely in the subway, I have a half hour’s ride to the Rundfunk House. As half of the route is above ground, the train is plunged in darkness for fifteen minutes. My pockets are stuffed full of passes. If I cannot find the right one I must wait in the vestibule on arriving at the station and fill out a paper permitting me to enter. Finally arrived, I go to an office and write up my script. Two offices down I can hear Lord Haw-Haw attacking his typewriter with gusto or shouting in his nasal voice against “that plutocrat Chamberlain”. A half-hour before my broadcast I must have my script in the hands of the censors. Follows a half-hour battle with them. If they leave enough to make it worth while to do the broadcast, as they usually do, I must then, in order to reach the studio and microphone, dash through winding corridors in the Broadcasting House, down many stairs, and out into a pitch-dark vacant lot in the middle of which are hidden steps — the lot being terraced — being careful not to bump into several sheds lurking in the way or to fall into a snow-drift. In the course of this journey through the lot, I must get past at least three steel-helmeted S.S. guards whom I cannot see in the darkness, but who I know are armed with sawed-off automatic rifles and have orders to shoot anyone not halting at their challenge. They must see my pass. I search for it with frozen fingers, and if I’m lucky and find it, I arrive at the studio in time and not too much out of broath, though not always in the sweetest of tempers. If the censors keep me, or the guards keep me, I arrive late, out of breath, sore and sour. I suppose listeners wonder why we pant so often through our talks.

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