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In the current issue of German Life and Letters, Kristen M. Hylenski analyses Valeska Gert's four autobiographical texts, Mein Weg (1931), Die Bettlerbar von New York (1950), Ich bin eine Hexe (1968), and Katze von Kampen (1973), revealing 'the ways in which Gert revisits and revises her life story. While each text recycles material from the previous ones, Gert continually reframes her narrative according to the changing audiences and historical contexts. Ultimately, through her drive to tell her story repeatedly, Gert succeeded in writing herself back into the history of modern dance, cabaret, theatre, and film in Germany, thus enacting the "spiritual reparations" she felt she had been denied.'