The Typewriter and the Guillotine
In 1922, Janet Flanner arrived in Paris with dreams of writing about “Beauty with a capital B” for The New Yorker. Then a niche publication, her employer was self-consciously apolitical, seeking only breezy reports on French art and culture. As signs of frightening extremism, economic turmoil, and widespread discontent became apparent, Flanner ignored her editor’s directives, reinventing herself, her assignment, and The New Yorker in the process.
Working tirelessly to alert American readers to the dangers of German’s chancellor and the worrying developments across the Atlantic, Flanner soon became enmeshed in the disturbing criminal case of a man who embodied all of the darkness she was being forced to confront. The child of two proud Nazis, Eugen Weidmann’s crimes were explicitly political and for Flanner, who covered Weidmann’s crimes, capture, and trial, the case served as a guiding metaphor through which to understand the tumultuous years through which she’d just passed and to prepare herself for the dangers to come.
Set against the epic backdrop of pre-WWII Europe, THE TYPEWRITER AND THE GUILLOTINE tracks how Weidmann’s case and the political turmoil of the period transformed Flanner from naïve writer to the hard-hitting journalist who exposed Americans to the warning signs of WWII.