also famous for his promiscuousness.From Finland Brecht continued with his family throughRussia to the United States, settling in Santa Monica.Brecht's travelling companion to America was RuthBerlau, a Danish actress. Margarete Steffin, a Germanproletarian writer and another follower, had died inMoscow. In the new country Brecht tried to write forHollywood, but the only script that found partialacceptance was
Hangmen Also Die
(1942). "Theintellectual isolation here is enormous," Brechtcompained. "Compared to Hollywood, Svendborg was aworld center." His ideas, such as "the production,distribution and enjoyment of bread," were not takenseriously by movie moguls. In 1947 Brecht was accusedof un-American activities, but managed to confuse withhalf-truths J. Parnell Thomas, the chairman of the HouseCommittee on Un-American Activities, who praisedBrecht for being an exemplary witness. However, heflew to Switzerland, without waiting for the opening of his play
in New York.Between the years 1938 and 1945 Brecht wrote his fourgreat plays. LEBEN DES GALILEI (1938-39, The Life ogGalileo), which did follow too slavishly the actualhistorical person, dealt with the hero's self-condemnation for giving up his heliocentric theory infront of the Inquisition. MUTTER COURAGE UND IHREKINDER (1939) was an attempt to demonstrate thatgreedy small entrepreneurs make devastating warspossible.
"What they could do with round here is a goodwar. What else can you expect with peace running wild allover the place? You know what the trouble with peace is?No organization."
DER GUTE MENSCH VON SEZUAN(1938-40) examined the dilemma of how to be virtuousand at the same time survive in a capitalist world, andDER KAUKASICHE KREIDEKREIS (1944-45),demonstrating that ownership belongs best to thosewho can make humane use of it.After 15 years of exile Brecht returned to Germany in1948 and spend a year in Zürich working on Sophocles
A Little Organum for the Theatre
. AfterZürich Brech moved in 1949 to Berlin where he foundedhis own Marxist theater Berliner Ensemble. His secondwife, Helene Weigel, whom he had married in 1928, washis chief actress and carried on as a director. Brecht hadwith the new authorities of DDR his problems, althoughhe wrote prose that pleased the censors. In his verseBrecht cryptically expressed his suspicion about theregime. "What times are these, when / to speak of trees