Madonna in a Fur Coat

The portion of the novel set in Germany takes place during the Weimar Republic (1918-1933), an era of extraordinary social and cultural ferment between the end of World War I and the rise of Nazism. Post-war Berlin, where Raif studies, was a global center for artistic innovation, sexual liberation, and political turmoil. It was characterized by hyperinflation that destabilized the middle class, a thriving and decadent cabaret scene, and the emergence of the Neue Frau, or “New Woman.” This figure defied traditional gender roles by pursuing financial and personal independence, bolstered by the power found in increased representation in both the workforce and the government: “During the years of the Weimar Republic, the majority of the electorate was female, in part because so many men had died in the war […]. In 1919, the first year women could vote in Germany, they held 10% of the seats in the Reichstag, and their numbers continued to rise throughout the next decade” (“Women in the Weimar Republic.” Facing History and Ourselves, 2 Aug. 2016). This increased power and authority created space for women’s voices in government and society and forced a reevaluation of women’s positions and roles. 

The novel captures this volatile atmosphere, with Raif observing a city of “casinos, theatres and cinemas” alongside jarring poverty (64). Maria Puder embodies the Weimar New Woman. She is an independent artist who supports herself by performing in a cabaret and openly rejects patriarchal expectations, condemning the “arrogant male pride” she sees in most men (80). She tells Raif she grew up “far removed from the influences that make most women come to accept their fate” (96), positioning herself as a modern, self-determined individual. This backdrop of a society in flux provides the important space for Maria and Raif’s unconventional relationship to blossom, free from the social constraints that would have defined their lives in Turkey.