[H-Net
Humanities & Social Sciences
OnLine]
See
How they Gush: Holocaust Museum's "Literature" expert
wrote words in 1997 that he now wished he hadn't (hint:
Binjamin Wilkomirski has been exposed as a
fraud).
Reply-To: An H-Net List for Teaching Social Studies in
Secondary Schools <[email protected]>
Sender: An H-Net List for Teaching Social Studies in
Secondary Schools <[email protected]>
September 10, 1997
Re:
Holocaust Literature
Author: [email protected]
Bill and Bob's comments about relying on "the
classics" of Holocaust literature resonated for me in
interesting ways. On the one hand, I agree with them that
Wiesel's Night is not only
one of the most powerful survivor memoirs that I have
read and probably one of the most accessible to multiple
reading levels. On the other hand, Holocaust literature
has evolved over time as more survivors are willing to
record their experiences and more diaries and documents
from the time of the Holocaust are published.
Additionally, there is much more interest in non-Jewish
victims of the Holocaust now than in the past, and this
corresponds to an increase in publications of their
stories.
The Diary of a Young Girl
by Anne Frank was published within years after the
end of WWII. It has been translated into god knows how
many languages. It is inargualy "a classic." But some
argue that it is nonetheless not always the best literary
tool for teaching about the Holocaust (since it focuses
on the experiences of a girl in hiding in Amsterdam, it's
narrow focus does not reflect the experiences of the bulk
of Europe's Jews during the Holocaust). Anne's diary has
also been re-edited since its original publication.
Whereas, her father felt that some of Anne's writings
about sexuality and adolescent conflict with her mother
were inappropriate for public view, they were excised
from the original edition. The latest edition of Anne's
diary has been published including these previously
removed passages. So, which edition is the "classic?"
I encourage teachers to consider recent Holocaust
literature for use in their classes. There is no doubt
that Night and
Diary of a Young Girl have
served generations of teachers well, but that does not
mean that there aren't other publications that work as
well or, in some cases, better.
Art Spiegelman's Maus
books have been used successfully by teachers with
students of different learning levels. There are multiple
narratives and themes addressed in Maus and the
information is delivered both through artwork and words.
Messages in the narrative can be both simple and complex
-- and often highly metaphorical. As is the case with
Night, Spiegelman's Maus is useful for examining language
as well as history. A book that is not new, but
that teachers frequently overlook is Primo Levi's
Survival in Auschwitz. This
book is appropriate for advanced readers in high school
and is an excellent example of not only an insightful
survivor's memoir, but also a great example of beautiful
writing. Levi truely a wordsmith, and I also recommend
his works that are not about his experiences in
Auschwitz. He frequently dissects the language of the
camps, and the neccesity to construct new language. (BTW
- There was recently a film released called The Truce
which is based on Levi's The Reawakening which
chronicle's his attempts to return home following
liberation).
Other excellent examples of Holocaust literature are
not biographies or memoirs at all, but poetry, journals,
and other works recorded by Jews in hiding, ghettos or
elsewhere. Two wonderful examples of children's poetry,
writing and artwork from the Theresienstadt ghetto are
I Never Saw Another
Butterfly and the lesser known but fascinating
We Are Children Just the
Same which compiles works from an underground boys
magazine in the ghetto. In one entry, a Jewish boy in the
ghetto actually compares his lot to that of American
slaves based on his understanding from having read
Uncle Tom's Cabin.
Oops. .
.
Finally, I encourage both Bob
and Bill to read a very recent publication -- Binjamin
Wilkomirski's
Fragments.
Although I consider this an "adult level" book and
have difficulty imagining using it with most students,
it is probably the most powerful survivor memoir that
I have ever read.
It is beautifully written, and as Jonathan Kozol
writes in his review for The Nation:
"This stunning and austerely written work is
so profoundly moving, so morally important and so free
from literary artifice of any kind at all that I
wondered if I even had the right to try to offer
praise. "Fragments will very likely be compared
to Elie Wiesel's Night, an equally understated memoir
recollected in a similarly pure and simple style. But
Wiesel was 15 years old when he arrived at Auschwitz,
so he understood, at least to some degree, the
genocidal context of his own experience. We read
Fragments in a different way, participating in the
chaos of a child's desperate incomprehension, his
longing to find reference points that might explain
the inexplicable. Night remains, for me, the classic
work, the quintessential and enduring testament of
Holocaust survival. Although universal in its
implications, it nevertheless belongs to a narrowly
specific time in history. Fragments, on the other
hand, is likely to be read as much by child
psychologists as it will be by historians. It poses
questions asked by those who work with spiritually
tormented children everywhere: How is a child's faith
in human decency destroyed? Once destroyed, how can it
be rebuilt? Or can it never be? What strategies do
children learn in order to resist obliteration in the
face of adult-generated evil? Is it right to ask them
later to renounce these learnings? Is it too dangerous
for them to acquiesce? But, if they can't renounce the
skills required in a time of darkness, can they ever
truly live within the light of normal day? What does
"normal" mean in a world that will so easily sequester
and destroy those it has first dehumanized? To ask
children to believe in goodness, and even more
important, in the reliability of goodness, is to
assume or to pretend that we believe in it as well."
For the complete text of Kozol's review see URL:
http://sparc20.medctr.luc.edu/~ael/heros/kozol/children-camps-bk-revie
w.html Also, a Real Audio clip of a National
Public Radio interview with Wilkomirski is available
on-line at:
http://www.realaudio.com/contentp/npr/nc6d02.html
David
Klevan
Museum Educator,
High School Programs
United States Holocaust Memorial Museum [email protected]
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