Happy News to Share!

 

Hello to my loyal readers (all nine of you!). I was just accepted into the Byrdcliffe Writer’s Residency summer program to work exclusively on my book, Googling the Holocaust. I applied to the program several months ago and just found out today. You better believe I’m excited. Ecstatic. Yippee!!!

Thanks for your continuous support by reading my posts, commenting when something resonates (or riles), and basically for believing in me. I hope you’ll continue to stick with me as the story continues to unfold.

 

Holy Holograms, Batman!

Credit: USC Institute for Creative Technologies

It won’t be long before people besides Joel Haley Osment start saying, “I see dead people.”

You know how one of the main laments of Holocaust studies for future (and current) generations is that the survivor population is dying out? How books and movies aren’t the same as face-to-face encounters with in-the-flesh survivors? Well, the University of Southern California is trying to do something about it.

According to a recent CNET article, “As the aging Holocaust survivor population dwindles, USC scientists scurry to create life-size 3D holograms that can answer viewer questions through Siri-like voice-recognition technology.”

The hologram initiative is a collaboration between the USC Shoah Foundation and design firm Conscience Display. According to CNET, they are developing “installations that let students and others converse with the hyper-photorealistic life-size digital versions of the survivors. Viewers ask questions, and the holograms respond, thanks to Siri-style natural-language technology, also developed at USC, that allows observers to ask questions that trigger relevant, spoken answers.”

Quick aside: I knew USC was home to Spielberg’s Shoah Foundation, but I didn’t know it was responsible for Apple’s Siri technology. Nice. Great way to use what you’ve got and keep things in-house, USC!

The initiative is called New Dimensions in Testimony and USC says it will “display testimony in a way that will continue the dialogue between Holocaust survivors and learners far into the future.”

If you can get past the creepy aspect, (can’t help but see this played out in a Scooby-Doo episode), it sounds like a potentially viable solution to stem the despair of those who feel the memory of the Holocaust will die with its survivors. With the amount of Holocaust literature, art and film already in existence, plus those in the works (like mine) or that will be made in the future, I highly doubt that, but still, it will definitely have a less dire effect when there are no survivors on the ground.

This is the part I like best (aside from the cool hologram element, of course): “New Dimensions in Testimony will yield insights into the experiences of survivors through a new set of interview questions, some that survivors are asked on a regular basis, plus many of which have not been asked before.” (italics mine)

Hopefully they can get this project done quickly while the remaining survivors are still lucid enough to answer these new questions with some degree of clarity. I suppose we’ll have to wait and see. But I must say, I trust these guys at USC. They seem to know what they’re doing.

I’m more interested in the “holy-hologram-wow” factor, but for those of you interested in the techie stuff, the aforementioned CNET article goes into greater detail and includes relevant links.

What do you think about Holocaust holograms? Creepy? Brilliant? Not sure? Do you foresee potential problems or glitches? Do you think kids will be freaked out by this or intrigued? Please, do tell.

Holocaust Hero: This Japanese Diplomat Saved 6,000 Jews

The Sugihara family headed for Berlin, Sept. 4, 1940. Courtesy of USHMM & Hiroki Sugihara.

I can’t get this image out of my head: Japanese diplomat Chiune Sugihara leaning out the window of his departing train, illegally signing off on visas to help thousands of Jews escape Hitler’s deathly grasp.

The Huffington Post captures the scene well: “The Japanese government closed the consulate, located in Kovno [aka Kaunas]. But even as Sugihara’s train was about to leave the city, he kept writing visas from his open window. When the train began moving, he gave the visa stamp to a refugee to continue the job.”

In Conspiracy of Kindness, a PBS film documenting Mr. Sugihara’s remarkable story, his wife, Yukiko Sugihara described their last days in Lithuania:

He was so exhausted, like a sick person. Even though he was ordered to go to Berlin, he said he couldn’t make it to Berlin and suggested we go to a hotel and rest before leaving. When we got to the hotel, the Jewish people came looking for us there. So he wrote some more visas in the hotel.

The next day when we got to the train station, they were there too. So he wrote more visas on the platform until the train left. Once we were on board, they were hanging on the windows and he wrote some more. When the train started moving, he couldn’t write any more. Everyone was waving their hands. One of them called out, ‘Thank you Mr. Sugihara, we will come to see you again,’ and he came running after the train. I couldn’t stop crying. When I think about it even now I can’t help crying.

From July 31 through August 28, 1940, Mr. Sugihara issued at least 2,139 visas; in many cases entire families were able to escape on a single visa.

Chiune Sugihara, Kaunas, Lithuania, 1940
Credit: USHMM, courtesy of Hiroki Sugihara

There is so much more to his story, much of it heartbreaking, but certainly worth knowing. PBS produced a timeline of his life with just the right amount of details to give us a sense of who this courageous man was. When he was sent to Prague in 1941 after Berlin, he boldly issued another 69 visas.

None of this was without consequence. Upon his return to Japan in 1947 (he and his family were interned in Russia for 18 months after the war ended), he was forced to resign and lived the next 25 years in obscurity, taking on  menial odd jobs including selling light bulbs door to door.

All this time Mr. Sugihara wondered if his visas actually worked. Although many survivors attempted to locate him, no one succeeded until 1968, when visa recipient Joshua Nishri, by then an Israeli diplomat, got in touch with him.

It wasn’t until 1985 though, after amassing hundreds of survivor testimonies attesting to Mr. Sugihara’s brave acts of kindness, that Israel’s Holocaust museum, Yad Vashem, declared him “Righteous Among Nations,” and planted a tree in his name. A park in Jerusalem was also named for him.

The timeline concludes with his death in 1986 at the age of 86, “…having proved beyond doubt that one person can make a difference. By some estimates, more than 40,000 people alive today have him to thank for their very existence. Sugihara once said, recalling his decision in Lithuania in 1940, ‘I may have disobeyed my government, but if I didn’t I would be disobeying God.’ ‘In life,” he said, ‘do what’s right because it’s right, and leave it alone.'”

In 2000, on the 100th anniversary of his death, Japan formally acknowledged his courageous deeds. According to the Los Angeles Times, “Foreign Minister Yohei Kono apologized to Sugihara’s widow, Yukiko, for any ‘troubles’ that Sugihara had suffered and unveiled a plaque at the ministry’s diplomatic record office, where Sugihara’s picture, his story and the list of people to whom he issued visas are now prominently displayed.”

The New York Times referred to him as the “Japanese Schindler.” No disrespect to Mr. Schindler, but Mr. Sugihara saved more lives. (I know that sounds petty and somewhat callous, but hey, it’s true.) Perhaps Mr. Schindler should be called the German Sugihara?

If you’re interested in learning more, have at it:

• Visas for Life, his memoir
• The Gift of Life, a biography
• What Responsibility Comes with Being Saved?,” a lovely essay written by Rachel Kadish, a woman whose grandparents were issued a visa from Mr. Sugihara.
• In addition to Conspiracy of Kindness there is also Visas and Virtue, a short film based on his life.

A Jew in Japan During WWII

Beate Sirota Gordon (photo via The Forward)

I love learning about unsung heroes. Especially when they’re women. And Jewish.

Meet Beate Sirota Gordon (pronounced bay-AH-tay). Born in 1923 to Russian Jews who had settled in Vienna, Ms. Gordon lived in Japan from ages 5 to 15; her father, a world-renowned concert pianist, had been courted by the Imperial Academy of Music in Tokyo. In 1939, just before her 16th birthday, she moved to California to study at Mills College; her parents remained in Japan. After the attack on Pearl Harbor she was unable to reach them and had no idea if they were even alive.

Using her skills (fluent in English, German, Japanese, French, Spanish and Russian) and smarts (convinced her professors to let her take her exams without attending classes and secured a job at a U.S. government listening post monitoring radio broadcasts from Tokyo), she slowly but surely figured out how to discover their fate.  As reported by New York Times obituary writer extraordinaire Margalit Fox (now that’s a job I truly envy), Ms. Gordon “later worked in San Francisco for the United States Office of War Information, writing radio scripts urging Japan to surrender.”

Beate Sirota Gordon at 2011 Commencement;   Credit: Stephan Babuljak

By the war’s end, she’d graduated from college and had become a U.S. citizen, but she still had no word of her parents. At this time American civilians were not welcome in Japan. By securing a job as an interpreter on General MacArthur’s staff in Washington, D.C., Ms. Gordon eventually made her way to Tokyo on Christmas Eve 1945, where she promptly discovered the depth of the city’s devastation. She went straight to her parents’ house and found a mere charred pillar.

She eventually found her parents, who had been interned in the countryside and were severely malnourished. She nursed them back to health in Tokyo while working for General MacArthur.

The first item on MacArthur’s agenda was to draft a post-war constitution for Japan, a top-secret assignment that had to be completed in one-week’s time. As the lone woman on the committee, Ms. Gordon was assigned the section on women’s rights. She was 22 years old.

“Japanese women were historically treated like chattel; they were property to be bought and sold on a whim,’ Ms. Gordon told The Dallas Morning News in 1999. “Women had no rights whatsoever.”

Among the rights granted as penned by Ms. Gordon were “choice of spouse, property rights, inheritance, choice of domicile, divorce and other matters.” The constitution went into effect in 1947.

She didn’t mention her role in Japan’s constitution until the mid-1980s. Her memoir, The Only Woman in the Room, which came out in 1995, made her a celebrity in Japan. There is also a documentary about her life, “The Gift From Beate.”

Although there must be other stories out there of Jews in Japan during and after WWII, this is the first I’ve read about. If you know of others please send them my way.

Holocaust Interpretations by Catholic Schoolgirls

Lost Childhood – Photo: Rachel Kornelly

I came upon this student Holocaust exhibition in a rather somber fashion, after reading an obituary for Kathy Carlisle, the high school teacher who had assigned it. The project, The Holocaust: Illuminated Memory, showcases the collective work of photography students at St. Francis High School, Spring Semester 2012. In Ms. Carlisle’s own words,

“This conceptual photography assignment required students to utilize historical research about the Holocaust to create symbolic photographic imagery.  An exploration of artists employing symbolism, metaphor, and allegory in historical and contemporary art established the foundation of the project. Students began their work by expanding their knowledge of the Holocaust from 1933 to 1945 through personal and collaborative research and class assignments.

The students’ creative challenges began as they refined their research to focus on a single personal narrative from a survivor or someone who had perished in the Holocaust. They were asked to personally assess and symbolize the essence of that single person’s story through photographic imagery. Students were limited to a palette of sepia or black and white photography, using only tonal value to describe the depth and breadth of their concept. The final step of the project required students to write an artist’s statement about their work, elucidating their creative process and its connection to their research.”

What I like about this assignment is that it required the students to get in real close and seek out one person or one moment and create art around that. To see the trees instead of the forest. St. Francis is an all-girls Catholic school, so I’m assuming none of the young women have a personal connection to the Holocaust, although it’s quite possible I am mistaken. Some of the students were able to go beyond the cliché, not an easy task in our over-saturated Holocaust memorializing world. I did not write that last sentence as a criticism of the vast amount of Holocaust art and literature that exists, only that it’s quite a feat to capture something that goes beyond “Never Forget.”

Some of the students’ work worth mentioning include:

Trapped in the Snow – Photo: Hibba Munir

Trapped in the Snow – by Hibba Munir
I linked my images to the personal history of Hanna Mueller. Hannah Mueller was reading about the harrowing treatment of Jews during the Spanish Inquisition and she told her grandmother, “We’re fortunate that we live in the 20th century in Czechoslovakia and such a thing can’t happen to us.” It was only six years later on March 15, 1939, when the Germans occupied Prague. On a cold and snowy day, when Mueller was only a mile from her home, the Germans entered the city on tanks and trucks, with their guns pointed toward the rooftops. The picture I chose symbolizes how calm the cold and snowy day seemed, until the Germans entered the city. In my second image, the fence symbolizes how the Jews were trapped and how they were just waiting to reach the other side, which contained trees, a symbol of freedom. Mueller’s story really moved me because it made me think of how innocent the Jews were, and how bad luck just came upon when they least expected it. I learned how much suffering the Jews went through both emotionally and physically. I learned how unjust the Germans actions were. By reading Mueller’s story and other stories, I was able to grasp a better perspective of what occurred at the concentration camps.

The Valued Potato – Photo: Nhi Le

The Valued Potato – by Nhi Le

In this image, I wanted to emphasize the importance of a potato to a person living during the Holocaust. I was surprised that someone compared a potato to a diamond. I didn’t think anyone would compare a small worthless potato to a valuable diamond. When I read about this, I thought of how much I eat every day and how I have taken so much for granted. In the photograph, I compared a bowl of food that I eat everyday to one potato that can last a person a whole day or even a week.

 

The Wall in the Way – Photo: Maxi Wilson

The Wall in the Way – by Maxi Wilson

I chose to portray the life of David Rubinowicz. He loved nature and enjoyed looking out a window that faced a road and a large field. He said that he remembered when his favorite field was blocked by marching soldiers. I was inspired to portray having things that you loved forcefully taken away. I learned that the Holocaust involved a lot of sneaking, hiding, and running away than I had originally thought. I know that many families were separated during the Holocaust, but I feel like losing something inanimate, like a field, is just as heartbreaking. If you lose the joyful things in life, along with the love from your family, what do you really have? I felt that having a gate in front of the field would portray the dividing aspect of the Holocaust. In other words, it shows that victims of the Holocaust were unable to have what they desired.

 

What a Dumb-Ash Thing to Do…

The mausoleum at the Majdanek concentration camp outside Lublin, Poland. Photo: CC BY-ND Kasia/Flickr

You know the definition of chutzpah wherein a man kills his parents and then begs for leniency on account of being an orphan? Well, here’s something that closely adheres to that definition: a Swedish artist used the remains of people murdered at Majdanek concentration camp in Poland for his painting, currently on display at a gallery in Lund, Sweden.

The artist, Carl Michael von Hausswolff, defends his use of the ashes, per his artist statement at the gallery: ‘The ash has followed me, always been there …  as if the ash contains energies or memories or souls of people … people tortured, tormented and murdered by other people in one of the 19th century’s most ruthless wars.’”

Uh, yeah, and that’s why you should not have used their ashes in your art. Those ashes are sacred. And they don’t belong to you. According to The Blaze: “[von Hausswolff] apparently collected the ashes 20 years ago, however there is not much information regarding how he acquired them. The Telegraph claims that he ‘took the ashes during a 1989 visit to Majdanek.’ A translation from a description on the gallery’s web site seems to indicate that the artist nabbed the ashes directly from cremation ovens during his visit.”

What an ash-hole.

Tattoo You

2nd and 3rd generation Holocaust survivors display their honorary tattoos.  Photo: Uriel Sinai for The New York Times.

 

 

 

 

 

 

 

 

 

 

 

Rolling Stones reference aside, many children and grandchildren of Holocaust survivors are getting replica tattoos of their relatives’ prisoner identification numbers, permanently etching history — a very personal one at that — onto their arms.

New York Times reporter Jodi Rudoren writes in today’s paper how the kin of Auschwitz survivors “are memorializing the darkest days of history on their own bodies.”

Rudoren writes, “Only those deemed fit for work were tattooed, so despite the degradation, the numbers were in some cases worn with pride, particularly lower ones, which indicated having survived several brutal winters in the camp.”

I never knew that. My mother-in-law’s mother was deemed fit to work and did so at a slave labor camp in Freiberg, Germany. She also had a number, but it was never tattooed on her body. I’m not sure why but when I inquired my mother-in-law told me she believes it was because it was the very end of the war and the Nazis were just trying to process the prisoners as quickly as possible. Tattooing, apparently, slowed them down.

I learned a few other things in Rudoren’s article: Auschwitz was the only camp to employ this method of identification. Also, they started out branding chests but eventually moved to the left forearm.

“After the war, some Auschwitz survivors rushed to remove the tattoos through surgery or hid them under long sleeves,” writes Rudoren. “But over the decades, others played their numbers in the lottery or used them as passwords.”

Some Jews find the act of tattooing a relative’s number on one’s forearm offensive and disrespectful.

Rudoren writes, “The 10 tattooed descendants interviewed for this article echoed one another’s motivations: they wanted to be intimately, eternally bonded to their survivor-relative. And they wanted to live the mantra ‘Never forget’ with something that would constantly provoke questions and conversation.”

In July 2011 I wrote about a grandson who has his grandfather’s number inked on his bicep, a gesture I am just now realizing shows strength rather than subservience. In the accompanying photo he is flexing his tattooed bicep, proving his point.

Thanks to my friend Liv Nilsson Stutz for bringing this article to my attention.

Brad Pitt takes on IBM

As if we needed another reason to heart Mr. Jolie.

IndieWire reports the still-hot actor/producer (Moneyball, The Tree of Life) is going to produce and possibly star in the movie adaptation of Edwin Black‘s, IBM and the Holocaust: The Strategic Alliance Between Nazi Germany and America’s Most Powerful Corporation.

Claude Brodesseur-Akner reports in Vulture, New York Magazine’s culture portal,

“While the Holocaust obviously predates the personal computer, it did not precede the information age, and Black’s book answers one of the Holocaust’s most obvious questions: How did the Nazis identify and round up so many Jews with such precision and speed?”

Courtesy of Wallace Graphic Design

Of course there are other companies complicit in helping the Nazis implement their master plan that are still around today: Mercedes-Benz, Volkswagen,  Ford (see Ford and the Führer). Other household names including Krupp, Kellogg and Bayer also profited from forced labor of Holocaust victims.

I remember learning about some of these companies’ involvement when I was younger and swearing I would never purchase or use any of their products. Well, to date I’ve never owned a Ford, Mercedes or VW but I’ve certainly ridden in all three. And I’ve taken Bayer aspirin on more than one occasion and although not a coffee drinker, my husband (the son of two Holocaust survivors) uses a Krupps coffee grinder to get his beans just right. Oh, and Kellogg’s? Please. Like Seinfeld, I could eat cereal for breakfast, lunch and dinner.

I’m getting off track here. The purpose of this post is that I’m excited for this movie to be made. And in a weird way I’m glad Brad Pitt is the force behind it, if only for the fact that he’ll be able to attract the right people and backers to get it done.

It’s interesting because you’d think this is a movie Steven Spielberg, with his Shoah Foundation and Oscar-winning Schindler’s List, would make. But I’m glad that it’s being made by a gentile — a smart, sexy, talented gentile, at that. I like when nonmembers of the tribe take up our cause.

Introducing the Neo-Nazi Flash Mob

 

What’s scarier than an angry flash mob? An angry flash mob of Neo-Nazis carrying torches.

As shown in the CNN video above, hundreds of Neo-Nazis wearing black robes and white masks take to the streets at night spreading their hateful rhetoric. They organize themselves entirely online and via text message, which reminds me of that famed New Yorker cartoon where one dog says to another, “Online, no one knows you’re a dog,” but in this case it’s with a perverse twist: “Online, no one knows you’re a Neo-Nazi.” Actually, they do. Because the Internet provides false anonymity, they feel emboldened to spew their hatred as a group. And offline, of course, they feel the need to disguise themselves. (Honestly, to me, they come across as scarier versions of the Phantom of the Opera.)

“It is a frightening scene that resembles the Nazi torch marches of the 1930s,” reports CNN’s International correspondent Isha Sesay. German officials say this group, which goes by the self-appointed moniker, The Immortals, is a serious and growing concern.

Professor Hajo Funke of the Free University of Berlin, who appears on the CNN clip above, The Immortals have already attacked people and institutions and are a group “not without violence.”

And of course, they are using modern technology to its full advantage by recording video of their marches and then uploading them to YouTube. Before they do that, though, they head to the editing room and manipulate their footage to full effect and add haunting music to the audio track.

I don’t want to link to it (I watched 10 seconds of it and almost vomited on my keyboard) but if you want to find it, type “The Immortals. Bautzen, Germany, May 2011” into YouTube’s search bar. Forewarned though, you’ll want to have a barf bag at the ready.

Firing Up the Oven?

Barak Levi Olins of Zu Bakery, courtesy of The Bakery Diaries

Bread. It conjures up all sorts of things. Crusty, hot and fresh. Slang for money. A 70s rock band. But for baker Barak Levi Olins, it brings up something else altogether. The Holocaust.

Owner of Zu Bakery in South Freeport, Maine, Olins approaches breadmaking like an artist, as he should. After all, bread is his life’s work, and bread is the staff (and stuff) of life. Five years ago he had an art installation that was borne of an epiphany he had. Art history professor Rebecca Duclos discusses it here:

“Firing across associative junctions that link bread to the body, utensils to weapons, and his own baking oven to the crematoria of the Holocaust, Olins’ work is at once visceral, poetic and neuralgic,” she writes.

“His installation at Whitney Art Works consists of three separate pieces in diverse media. Together a video, sculpted tools, and Olins’ homage to a baking oven express aspects of the physical and mental space in which the artist-baker himself labors every day. Olins’ own bread oven has come to represent an inevitable and inextricable connection between himself and the Holocaust, an extraordinary link that at first took him by surprise:

“The realization came from when I was building my bread oven and realizing that if I ever had to repair that thing I would have to climb inside of it. And then I had this incredible reaction, almost like a sense of suffocation or something. I didn’t realize right away why I had that reaction. I’m not inherently claustrophobic. Then I started to put it together.”

Duclos continues: “Olins acknowledges the ‘poetically dangerous’ territory that his work circumscribes. His determination to make conscious and make tangible the unthinkable leap between bodies burning and bread baking is disturbing precisely because it is so raw, so purely possible. Barak Levi Olins lives with this possibility every day he bakes.”

My friend Amy Halloran, an urban homesteader in upstate New York, met Olins at The Kneading Conference in Maine a couple of weeks ago. She sent me a link to his bio and told me, “Barak has such a lovely presence, I liked him right away. And he mills Maine grains for his bread, so I loved that. Then I read is bio and I thought, ‘This guy is a charm! The bread bomb!'”

Olins doesn’t mention on his site whether or not he has a direct link to the Holocaust but as a Jew, it’s a visceral connection to make, that of working the ovens to cremate fellow Jews and other prisoners in Auschwitz and then here in the States 70 years later baking bread for fellow Jews and people in the community. It’s uncomfortable to think about and write about but I’m pleased Olins was compelled to put it out there. Only wishing he would bring the installation here to New York. I, for one, would make a point to see it.