not being surprised at herself, and she’d think about that if it wasn’t too complicated for her. Why is Pit so horrible to me? He’s my best friend, after all! She still hasn’t told him her story yet, but now she doesn’t want to. The whole atmosphere here, the semi-darkness—she can’t stand it anymore.
Gilgi pays for the port. Without giving Pit another glance, she walks past him to the door. Onto the street. She’s going home. Home?
Anyway, Gilgi has other things to do besides looking for her parents. She decides not to worry about the matter for the moment. No doubt she’ll find an opportunity to make the acquaintance of the Greif family sooner or later.
Gilgi is as gentle as a turtle-dove with the Krons. She’s postponed her decision to leave home until after Carnival, and she’s resolved to be as nice and pleasant as anyone possibly could be while she’s still there. She takes her mother to the movies and the
Konditorei
. Doesn’t complain when a film is sickeningly sentimental, and watches fearfully but silently as the massively overweight Frau Kron heedlessly devours whole mountain ranges of cream slices, chocolate cupcakes, and fruit tartlets.
They’re expecting a visit from Frau Kron’s sister and her two daughters from Hamburg. Their relatives want to experience Carnival in Cologne—and of course they haven’t seen each other for ages. The three ladies from Hamburg will stay with the Krons. The house is bursting with excitement. A bed and a divan are moved into Gilgi’s room—for her two cousins. Everything is turned upside down. An orgy of cleaning begins: “Hetty is so finicky,” and Frau Kron wants to do honor to her household. When Gilgi gets home after work, she races through the rooms with the vacuum cleaner, hangs new curtains at the windows, waxes the parquet floor in the parlor. And she loves doing all of it. She has a heartfelt desire to make herself useful. But then she has to accompany her mother to thestation, to fetch the relatives, and she doesn’t think that’s so useful.
Aunt Hetty and Young Gerda and Young Irene tumble onto the platform with clamor and screeching and “No!” and “Wow!” and a frenzy of embraces. Grown up so much! And the children! Yes, who would’ve thought it—after such a long time—and you’re looking so good, Hetty!—But not as good as you, Berta! When Aunt Hetty gives her a juicy kiss, Gilgi feels like a cat which has been rubbed up the wrong way. She’d very much like to wipe her mouth, because it feels so wet above her top lip, but they’re always watching her.
“No, we can take the streetcar, Hetty.” Frau Kron is a little overcome by it all, but she’s still thinking economically.
“Of course, we’ve always wanted to see the Rhine—but the War! And then the Occupation! You poor dears, how you must have suffered.” Aunt Hetty whispers, and looks fearfully all around. Of course, the English troops have left, but she’s still not quite sure—you can never know … Frau Kron’s eyes express pain: “Yes, they were difficult times for us, Hetty.” Frau Kron enjoys being commiserated with.
Then they stop outside the cathedral. “Wow, isn’t it big!” Young Gerda is full of admiration. “You don’t miss much, do you, Gerda dear?” Gilgi says amiably. No, Young Gerda and Young Irene don’t have jobs, they help at home a little—and they’ll probably get married soon. Aunt Hetty isn’t in favor of the new ideas, though she picks out the ones which suit her: for example, Young Gerda is twenty-six and Young Irene is thirty, and before the war that would have been old for an unmarried woman, but it’s not anymore.
Gilgi sits at home with her delightful relatives for thewhole evening. Young Irene and Young Gerda show off their Carnival costumes. Young Gerda skips around the room in her pixie costume—her legs are rather thick, but on the other hand she’s quite small up top—and Young Irene wriggles cheekily on
Gilgi pays for the port. Without giving Pit another glance, she walks past him to the door. Onto the street. She’s going home. Home?
Anyway, Gilgi has other things to do besides looking for her parents. She decides not to worry about the matter for the moment. No doubt she’ll find an opportunity to make the acquaintance of the Greif family sooner or later.
Gilgi is as gentle as a turtle-dove with the Krons. She’s postponed her decision to leave home until after Carnival, and she’s resolved to be as nice and pleasant as anyone possibly could be while she’s still there. She takes her mother to the movies and the
Konditorei
. Doesn’t complain when a film is sickeningly sentimental, and watches fearfully but silently as the massively overweight Frau Kron heedlessly devours whole mountain ranges of cream slices, chocolate cupcakes, and fruit tartlets.
They’re expecting a visit from Frau Kron’s sister and her two daughters from Hamburg. Their relatives want to experience Carnival in Cologne—and of course they haven’t seen each other for ages. The three ladies from Hamburg will stay with the Krons. The house is bursting with excitement. A bed and a divan are moved into Gilgi’s room—for her two cousins. Everything is turned upside down. An orgy of cleaning begins: “Hetty is so finicky,” and Frau Kron wants to do honor to her household. When Gilgi gets home after work, she races through the rooms with the vacuum cleaner, hangs new curtains at the windows, waxes the parquet floor in the parlor. And she loves doing all of it. She has a heartfelt desire to make herself useful. But then she has to accompany her mother to thestation, to fetch the relatives, and she doesn’t think that’s so useful.
Aunt Hetty and Young Gerda and Young Irene tumble onto the platform with clamor and screeching and “No!” and “Wow!” and a frenzy of embraces. Grown up so much! And the children! Yes, who would’ve thought it—after such a long time—and you’re looking so good, Hetty!—But not as good as you, Berta! When Aunt Hetty gives her a juicy kiss, Gilgi feels like a cat which has been rubbed up the wrong way. She’d very much like to wipe her mouth, because it feels so wet above her top lip, but they’re always watching her.
“No, we can take the streetcar, Hetty.” Frau Kron is a little overcome by it all, but she’s still thinking economically.
“Of course, we’ve always wanted to see the Rhine—but the War! And then the Occupation! You poor dears, how you must have suffered.” Aunt Hetty whispers, and looks fearfully all around. Of course, the English troops have left, but she’s still not quite sure—you can never know … Frau Kron’s eyes express pain: “Yes, they were difficult times for us, Hetty.” Frau Kron enjoys being commiserated with.
Then they stop outside the cathedral. “Wow, isn’t it big!” Young Gerda is full of admiration. “You don’t miss much, do you, Gerda dear?” Gilgi says amiably. No, Young Gerda and Young Irene don’t have jobs, they help at home a little—and they’ll probably get married soon. Aunt Hetty isn’t in favor of the new ideas, though she picks out the ones which suit her: for example, Young Gerda is twenty-six and Young Irene is thirty, and before the war that would have been old for an unmarried woman, but it’s not anymore.
Gilgi sits at home with her delightful relatives for thewhole evening. Young Irene and Young Gerda show off their Carnival costumes. Young Gerda skips around the room in her pixie costume—her legs are rather thick, but on the other hand she’s quite small up top—and Young Irene wriggles cheekily on
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