Mascha Kaléko experienced her first successes in Berlin during the Weimar Republic and quickly rose to fame as a shooting star of the New Objectivity movement with her so-called Gebrauchslyrik (practical poetry). Under National Socialism, however, she was banned from publishing. To escape persecution, she emigrated with her family via Hamburg and Paris to New York. Even her later encounters with Germany remained shaped by that period. In 1959, she declined the Fontane Prize because one of the jury members, Hans Egon Holthusen, had been a member of the SS. A hundred years after the peak of Kaléko’s work, playwright Anja Hilling explores her biography and poetry. The result is a finely musical theater text that places its characters in transitional spaces, giving voice to both the multilingualism and the silence of exile.