“Worries are the most stubborn habits in the world.”*

*Vicki Baum

From Wikipedia:

“Hedwig “Vicki” Baum (Hebrew: ויקי באום‎; January 24, 1888 – August 29, 1960) was an Austrian writer. She is known for the novel Menschen im Hotel (“People at a Hotel”, 1929 — published in English as Grand Hotel), one of her first international successes. It was made into a 1932 film and a 1989 Broadway musical.

Baum is considered one of the first modern bestselling authors, and her books are seen as exemplifying New Objectivity within contemporary mainstream literature. Her protagonists were often strong, independent women caught up in turbulent times.
Baum is most famous for her 1929 novel Menschen im Hotel (“People at a Hotel”), which introduced the genre of the ‘hotel novel’. It was made into a stage play in Berlin in 1929, directed by Max Reinhardt, and an Academy Award winning film, Grand Hotel, in 1932. Baum emigrated to the United States with her family after being invited to write the screenplay for this film. She settled in the Los Angeles area and worked as a screenwriter for ten years, with moderate success. With the rise of National Socialism in Germany, her literary works were denigrated as sensationalist and amoral and banned in the Third Reich as of 1935. She became an American citizen in 1938, and her post-World War II works were written in English rather than in German.

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.”

The movement essentially ended in 1933 with the fall of the Weimar Republic and the rise of the Nazis to power.”

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