In Search of Lost Time

The Evergreen State College

Author: titken28

Oral History Draft

Kenna Titus

05/21/15

Oral History Project

At age 9 I went to see the Diary of Anne Frank, and found myself wrestling with heavy survivor’s guilt. I was an odd kid, a complex mix of intelligent, vivacious, and hugely sensitive. This left me in a constant battle between wanting to know everything, and being heartbroken by the truth; a contradiction I experienced perhaps most strongly as I learned about the Holocaust. Growing up in a reform Jewish community I attended religious school twice a week, where there was a strong focus on learning the history of the Jewish people. This meant a lot of talk about the Holocaust, from watching videos and looking at pictures of the camps, to discussing interpretation of Jewish laws during that time, to hearing the stories of survivors. On these days I could often be found crouching on the green tiled floor of the temple’s basement bathroom, wiping away tears and fighting an inner battle between the desire to hide my feelings, and the fascination that the information held for me. It took many years of wrestling with my empathy and my identity before I gathered the courage to learn my own family history. My freshman year in college I was struggling with my place in the Jewish community, both because of my political beliefs and my skepticism in the face of traditional faith. Without the community I had grown up with, I found myself feeling cynical about the idea of attending temple, or participating in religion at all. It was during this time that my strong interest in the Holocaust reemerged. I felt a tie existed between my religious disillusionment and my connection with this traumatic event that had occurred over 50 years before my birth. I decided it was time to reevaluate that relationship.

The search to find my family’s story led me quickly to my uncle, an Israeli judge, special forces commander in the IDF, Zionist, and father of four, who had made Aliyah (immigrated to Israel) at age 18. Though I was closer with my grandmother, and they were more directly her relatives, I knew that if anyone would have done all the research and be able to tell me exactly what had happened it would be my uncle. I phrased my email carefully, attempting to keep my language vague as I was not ready to explain my motivations or defend my possible theories. In answer, he sent me his “report from the IDF battalion and company commanders’ course delegation to Poland”, a personal essay he had written for family after his trip. While in Poland he had visited many of the camps, even seeing the shower chambers where his wife’s family members had been gassed. In this paper he also include the research he had done before the trip, upon learning that millions of testimonials could be found online, where he had followed my great grandmother (granny’s) family tree:

 

So I took the Binstock family tree which a cousin of Granny had sent her… and immediately found about 12 testimonials, all filled out by that same cousin of Granny.  A great many of the descendants of Avraham Binstock (one of Great Grandpa Yitzchak’s eight siblings) were murdered at the time that the ghetto in the Galician town of Tarnow was liquidated by the Nazis.  Of those, most were executed on sight when found hiding together in a basement; one of Avraham’s daughters was shot along with her child, when trying to sneak out of the ghetto during the liquidation and that daughter’s husband was taken in by a gentile, who later shot him to death.  Avraham himself was murdered in Auschwitz.  I also found a photo of the Mathausen concentration camp information card about another of Avraham’s adult children.  Most directly related to us was Great Great Grandma Miriam Feige… who moved with Great Great Grandpa Aron Wolf to America (along with Great Grandpa Yitzchak).  After Great Great Grandpa Aron Wolf passed away, Great Great Grandma Miriam Feige went back to Poland and was killed in the Holocaust.

Reading this essay my uncle had written swiftly brought me to tears, and I realized in this moment how deep an effect anti-Semitism and the trauma of the Holocaust had on my life, despite never knowing my own family’s sufferings. This led me to develop more clearly my interest in this project. I have a strong desire to better understand communal traumas, and how they shape generations removed. From descendants of African American slaves, to Native Peoples (here and elsewhere), to Japanese Americans who faced internment, and so many other communities who have been shaped by oppression or genocide, there are people walking through our lives today who still bear the scars. But for this particular project I stayed close to home, focusing on the Jewish population and talking to a rabbi and a couple of my peers about the ways we have been effected. We all grew up with this knowledge, this fear and sadness and sometimes even guilt, and it has been a fascinating journey to begin understanding the impact that has had.

What first struck me when I began to think about the Holocaust in depth within the context of our lives today was that in many cases we were literally created by this event. So many families were torn apart and later reformed in new and complicated ways, and these events led to the birth of our families. This struck me as the most immediate effect on our lives, and a good place to start because it serves as an indisputable way in which some of my generation has been affected. This thought was confirmed for me as I began my interviews and people shared with me the stories of their own family’s experiences and histories. A student around my age named Aryeh who I spoke to shared his story:

It’s just on my dad’s side, my mom’s family had been in the states for a few generations but my dad’s side they were in Poland and my grandma was actually dating my great uncle, my grandpas older brother. I think they were in a relatively close knit Jewish community in Poland. They got exiled from Poland and ended up in Germany in the camps. Both my grandparents were in Auschwitz, and my great uncle I guess died in the camps. So later my grandma was trying to get in touch with him and couldn’t but she got in touch with his brother, and they ended up getting married. A lot of that side of the family was lost though, and even the people that survived had a lot of trauma

Aryeh’s family would have been completely different without these events. His grandfather wouldn’t have been his grandfather; they might not even have left Poland. He and his family are, in a sense, entirely a result of the Holocaust. Rabbi Edelman’s story also reflected this effect:

Both of my wife’s’ grandparents were married before the war. Both had families, one had two kids one had five kids. Both were sent to concentration camps. Their wives and kids were all killed. My son was named after my wife’s grandfather. He was on a train to Auschwitz and they broke a window in the corner of the train and people were crawling out. He was pushed out of that corner and he was shot twice by the Nazis, but he made it. He lived by himself for two and a half years in the woods in Poland. His father was killed in front of him. My wife’s other grandfather’s wife and three kids were killed and my wife’s grandmother was an Auschwitz survivor. So you just think about the weight of that, to live through that, to remarry and have another family, it’s unfathomable.

Somehow, though, they did make it through. People lived and relocated and remarried and eventually, generations later, we were born. Of course many Jews today, myself included, had family in America far before the Holocaust and are not ourselves related to survivors. And yet my education, sense of self, and worldview were interminably affected by this event, and in this way it has “created” me. As Aleks, another student I interviewed stated, “My family is from Russia and Poland… my great grandmother came to the states as a child fleeing pogroms in her Siberian shtetl. I don’t think I had any family in the Holocaust… but, I mean, of course I had family, I’m related to all humans let alone all Jews.” And this is a view echoed throughout the Jewish community. There is a tradition around the holiday of Passover of saying things such as “we were slaves in the land of Egypt”, using the personal pronoun to acknowledge that they were my people, and therefore a part of myself. This connection is expressed in much of our storytelling, and it makes history feel incredibly personal. And so, as it was the great resilience of these people, my people, in the Holocaust that created our lives and our culture today, I am left wanting to examine this strength of the human spirit: the resilience and bravery that has become myth in our time.

Growing up, I heard many stories of bravery in the Holocaust. People fighting back in small ways, maintaining their religion in the hardest of times; figures whose faith and strength prevailed in spirit above their mortal pain. This idea is embodied well by to the violin music of Juliek in Night. This character’s immense strength and beauty was particularly connected with Aleks, who said “I read Night like three times… and I think I cried probably all three of those times. And actually one of the characters in that inspired me to play violin.”  What I saw in Anne Frank, and Aleks saw in Juliek, is reflected in many characters and stories that represent the vitality of humankind. They represent the moral of the stories we tell, or the “mythology” of the Holocaust, and these characters are perfect heroes for us to admire and relate to. There are also personal stories from which we draw these characters. Aryeh told me his own family’s story of resilience:

Both my grandparents were in Auschwitz but I think there was a lot of moving around between camps. So at one point I know my grandpa was in work camps and he and his dad would volunteer for extra work positions. I heard a lot of stories about my grandpa being kind of scrappy and trying to escape a bunch of times and sabotaging construction work. I don’t know how true it was because my dad liked to embellish but there was a lot of mythology there.

Rabbi Edelman also stressed the importance of this message (mythology?) when talking about the Holocaust:

One thing I think should be emphasized more is the role of Jewish faith during the Holocaust… people talk about the brutality and death and torture… which is very important and has to be talked about, but when you think about what is there in Judaism that can help you and give you strength?… There were tremendous amounts of spiritual rebellion. Every time the Jew stood tall and retained their human dignity and sensitivity… that was rebellion.

He told me about the book which has had the biggest impact on his life, A Man’s Search for Knowledge, and the moral it draws from this mythology:

So the book is by Dr. Victor Franco, a psychologist and a student of Freud. He was developing his particular school of psychology, basically that the most important drive in a human being is the search for meaning in life. Very different than Freud who believed that we were driven by sexuality and power, but Franco said that what he saw in the Holocaust could blow your mind, the kindness that people gave, sharing their last bit of bread with other people, yes even though there were people that did barbaric and animalistic things that doesn’t define what the human being is. The human being is capable of the most incredible good because we’re not animals, at the core people are angels not animals. And we have to feed that.

I think there’s value in this message, in recognizing strength in the face of pain, in being inspired by stories, true and fictional, that show us what it means to have faith. And I think that this feeling of admiration for those that were so strong is probably what’s intended in part by the large focus in Jewish education on the Holocaust. But hand in hand with this strength comes a fear that many of us carry. Growing up with the knowledge of such an immense tragedy, a genocide of our people, has affected us all. Though we have each reacted differently, I would argue that we are all coping. Rabbi Edelman told me a story that framed this fear and desire to be separate quite well:

Elie Wiesel grew up as a Chasid. And one day he asked his Rabbi,

“How can you have faith in God after the Holocaust?”

The Rabbi responded by asking him the exact opposite question.

“How can you have faith in man after the Holocaust?”

How do we have faith in man? The answer to this question differed between those that I talked to, and I’m sure there are millions of methods, but I did see this struggle for faith and in man, for wanting to be part of the community of man, affecting each of us.

Aleks talked to me about the way this awareness affected him:

It’s affected my Judaism and my sense of being Jewish. I feel like in the history of being Jewish we have a lot of history of being persecuted… but the Holocaust is such a big deal it’s almost a scar on our communal psyche. I guess because it was the literal destruction of a society of Jews that ended European Jewry essentially… I feel like it makes me feel kind of like a refuge, in the sense that I identify pretty strongly with the idea that my family used to speak Yiddish and now we speak English. We used to live in Siberia and now we live in Texas. That just really struck me, that we used to live this way, and it was a particular thing that happened that ended that and really changed the way we all live. The Holocaust and pograms and just European anti-Semitism from the 19th to 20th century. There’s just a real sense of how Jews were discriminated against and I think many people may not acknowledge that that’s a thing that still happens today.

I certainly felt the Holocaust as a scar on my psyche, and on my communities psych as a whole. There is a fear that permeates my body when I begin to read peoples personal stories, or to watch a documentary, or even to think deeply about the Holocaust. Rabbi Edelman said during our interview:

It is rather a huge kind of thing when you think about Germany as a country that was on the leading edge of science, of philosophy, and of culture. This is not in my lifetime but in people who are around today’s lifetime, this in not ancient history. To think that the modern world could go so nuts. Think about it, people coming into your house, kicking you out, throwing you into concentration camps, killing your people…  For you to think about what human beings are capable of doing, ya know? A lot of people think it could never happen again, and hopefully it could never happen again, but you know this was not the dark ages 700 years ago or something. We’re talking the modern world, sophisticated people. Of the top 50 Nazis over 40 of them are college educated! I mean you’re talking doctors, lawyers… they weren’t just uneducated peasants who hated Jews. What the mind is capable of, creating a whole philosophy and convincing a person of something, it’s pretty scary.

I have spent years thinking about this. It has indisputably changed the way I have thought about the world. What is humanity if it is capable of such horrendous things? And here I am hesitant to say we. I don’t want to include myself in the “we” that is humanity, because if humanity is capable of this destruction I cringe to associate myself with it. I think this is also at the root of Aleks feeling like a refuge among Americans. It is hard to want to be part of a larger culture that has historically chosen to disown us, and a culture that we perceive as being capable of the worst evils

Aryeh also felt the desire to distance himself in some way. He told me about how anti-Semitism affected him:

One of the stories my dad has talked about over and over again when I was a kid was one of his getting followed home from school. He was very obviously Jewish, and lived in New York and one day some kid threatened him with a knife and there was some altercation that was really intense around ‘you killed Jesus’, and I heard that from a very young age and that kind of colored how I viewed my world.

He described feeling combative in school, always waiting to be singled out for his religion. He felt different, and he felt that his difference would at some point put him in danger. His father also stressed that the only way to defy anti-Semitism was to stay in the faith:

I think my dad would bring up things his mom (who was a very religious Holocaust survivor) had said, like “this is a horrible thing” but then he would say it right back to me. One quote that’s come up a lot, he’s brought it up again and again, is “don’t finish the job that Hitler started.” That’s something his mom would say about him, when like he wasn’t being religious or not being Jewish enough… And then it came up with me dating non-Jews. That’s where my dad would bring it up. It’s interesting how he perpetuates that when he isn’t really religious, as a way to keep me in the faith.

Teaching the fear of anti-Semitism as a method to promote Semitism is something I’ve seen before. I think back sometimes on my Jewish education and begin to feel that this was all I was taught, that the focus was so strongly on the evil of anti-Semitism that they forgot to emphasis the merit of practicing Judaism. Rabbi Edelman addressed this as a problem in general American Judaism:

There are some Jews for whom the main focus of their Jewish identity growing up was the Holocaust, so they don’t like to talk about it now. A lot of people don’t know there is more to Judaism than people hating you.

This is a way of viewing ourselves that I have seen as a major thread throughout my discussion of the long term effects of the Holocaust, and is perhaps the general legacy of widespread anti-Semitism. The reality of being segregated, expelled, oppressed, and exterminated for hundreds of years is that through being othered, we have learned to other ourselves. Rabbi Edelman expressed this cultural reality but also opened my eye to the possible positive effects:

There are some Jews that have the opinion, on the negative side, that people who are not Jewish are just out to get us. They write off the non-Jewish world, and are very insular. But on the positive side there is a sensitivity from the experience we have had. When we say never again it’s not only for the Jewish people but that no one else should ever experience that. It’s pushed Jews to be at the forefront of all kinds of movements that are designed to help make sure these things never happen again… it’s pushing us to go beyond never again.

This leads me to thinking about one of the central principles of Judaism that I have taken with me into my adult life, the idea of “tikkun olam”, or “repairing the world”. Jewish teachings hold that we all bear a responsibility to lend a hand in bettering our world, that God will not do that for us. I feel that we are instilled with a pretty clear understanding of the ways in which our world is broken, but tikkun olam insures we are also taught that we have a responsibility to repair it, and this has been a redeeming factor in my desire to stay connected to the faith. Sometimes I struggle to believe that the world will ever be whole, that we will ever be united, but I think tikkun olam answers for me that question Victor Franco addresses, the question of finding meaning in life. There is meaning for me in attempting to insure “never again” for all people.

I believe that many Jews of my generation and my parents generation, like myself, struggle to this day with repercussions from and trauma around the Holocaust, in both conscious and unconscious ways.  The testimonies I heard while doing this project changed the way I thought about my own experience, both by making me feel connected to a larger experience and helping me to process why the Holocaust had such an impact on me.  I felt so strong a connection as a child with my repressed ancestors that it caused me intense pain and survivor’s guilt. Aleks feels like a refuge in the only home he has ever known. And Aryeh felt constantly afraid growing up of anti-Semitism, and that to leave his faith would be contributing to that anti-Semitism. I see these all as symptoms of the trauma that still plagues us, of our feeling othered and rejected, and of us being taught that anti-Semitism defines our religion. Although there is strength to be found in learning about the resilience of my people, I see even more power in claiming my faith in a present positive way, separate from, although not in denial of, the horrific events of the past.  I want to change the mythology so that Judaism might not be defined by the Holocaust, and by anti-Semitism, but by our desire to prevent oppression moving forward. In this way we can rediscover a desire to be part of the “we” of humanity, to stop othering ourselves, and to define ourselves by faith and not be trauma.

 

Close Reading

The Captive

pg. 396-400

About halfway through The Captive our narrator, leaving Albertine at home where he is secure she will stay for the evening, sneaks off to attend the Salon of Mme Verdurin. Here he runs into a regular in the little clan, Brichot, and many other familiar faces. Upon arriving at the salon we find that M. de Charlus has essentially hijacked the evening by inviting a number of his friends who treat Mme Verdurin with great disrespect, and attempting to make Morel (his current obsession) the center of attention. This leads to what will eventually be Charlus downfall in the little clan.

As the evening is drawing to a close Mme Verdurin schemes to drive a wedge between Charlus and Morel, and in order to do so sends Brichot off with Charlus. This sets the scene for an interesting discussion of homsexuality between the two men, to which our narrator disgruntledly bears witness (his thoughts by this point in the evening straying back home to the sleeping Albertine).

The conversation opens with the discussion of Mlle Vinteuil and her friend, whom Charlus describes as “terribly disreputable persons” and “quite notorious”, which is interesting as he about to launch into a great defense of the normalcy of homosexuality (394). This is the first strong example in this section of Charlus habit of switching between his social mask of the virile man and his true identity of the homosexual, or ‘invert’. Brichot jumps in quickly with a defense of the women, declaring that “There is one thing which the Baron seems to me not to have taken into account when he speaks of the reputation of these two ladies, namely that a person’s reputation may be at the same time appalling and undeserved.”(395) This provokes an immediate reaction from Charlus, which serves also as a revelation of his true form:

From the moment that Brichot had begun to speak of masculine reputations, M. de Charlus had betrayed all over his features that special sort of impatience which one sees on the face of a medical or military expert when society people who know nothing about the subject begin to talk nonsense about points of therapeutics or strategy. (395)

He then responds to Brichot opening with “you don’t know the first thing about these matters”, launching us into this conversation and establishing himself as expert on the subject, a position which he maintains for the remainder of the interaction (395).

Charlus goes on to refute Brichots claims regarding the prevalence of false reputation, claiming instead that men are prone to deny later in life their actions, stating they cannot see the beauty in men when in fact they once were actively homosexual, and declares that he (the expert) has only ever heard of two verified unjust reputations. This explanation is slightly revealing of his own habits, those of denying his attractions to men when it is convenient for him to appear as a high class member of society and hiding his mannerisms in order to maintain his own reputation.

Much of this section is concerned with Charlus trying to convince Brichot of the extreme prevalence of homosexuality, in part by exposing men whom Brichot had not previously suspected. The first of these disclosures is Charlus declaring that Saint-Loup is an ‘invert’. He explains this by saying that Saint-Loups friend the actress, Rachel, serves only as a cover and is herself part of a group of lesbians. I think he does this in part to draw the attention of the narrator, whom having had a close friendship with Saint-Loup and having shown a strong dislike if not a disgust for homosexual relations (both in his speech and in his avoidance of Charlus’ advances) is surely quite disturbed by the news. Charlus then builds to his big reveal, that “the average rate of sanctity, if you see any sanctity in that sort of thing, is somewhere between three and four out of ten.” (397) Sanctity in this context of course refers to hetersexuality, so in this statement Charlus achieves two things: first, to astonish the men with the idea that only three of ten men have refrained from homosexual activity, and two to question if hetersexuality is the more pure type of sexuality.

The narrator is “appalled at [Charlus’] statistic” when he considers the implications for the rates of lesbianism, and although he attempts to write it off as wishful thinking on the part of Charlus, it leads him back to worried thoughts about Albertine (397). Brichot on the other hand is shocked, declaring that if Charlus is right he must be “one of those rare visionaries who discern a truth which nobody round them has ever suspected”(398) and argues essentially that even if he is right, it can never be proven so he is making a fool of himself by proclaiming it to be true:

Posterity judges only on documentary evidence, and will insist on being shown your files. But as no document would be forthcoming to authenticate this sort of collective phenomenon which the initiated are only too concerned to leave in obscurity… you would be regarded as nothing more than a slanderer or a lunatic. (399)

To the reader this number may seem unrealistically high, at least as it’s reflected in general society, but upon further consideration it is quite possible that this ratio exists in the society created by Proust within In Search of Lost Time. A very large percentage of the characters to whom we are exposed possess some connection to, if not an outright participation in, homosexual activity, and Charlus will continue to expose more throughout this scene.

In the next moment Charlus mentions Swann, which gets the attention of Brichot and we can assume also our narrator, although he has not spoken, as he has a long standing obsession with both Swann and Odette (Mme. Swann). Brichot inquires as to how Charlus knows Swann, and whether Swann was “that way inclined”(399). To this Charlus takes (faux?) offense, accusing Brichot of thinking he only knows homosexuals. We are then privy to Charlus’ thought process as he decides whether to expose Swann. As he has already essentially lowered his mask in his outright declaration of the prevailing commonality of homosexuality, he decides that to reveal a small bit of the truth would be “harmless to him who was its object and flattering to him who let it out in an insinuation.” (399) He then launches into the half answer to Brichots question:

“I don’t deny that long ago in our school days, once in a while,” said the Baron, as though in spite of himself and thinking aloud; then pulling himself up: “But that was centuries ago. How do you expect me to remember? You’re embarrassing me,” he concluded with a laugh… “In those days he had a peaches and cream complexion, and… he was as pretty as a cherub.” (399-400)

In this passage Charlus has clearly outed both himself and Swann as having participated in homosexuality (although he had already made his “inversion’ pretty clear throughout the scene). The description of Charlus is interesting, especially considering that he is referring to a younger self, since he seems to be adopting the mannerisms of a school boy upon his reminiscing by the way he laughs and claims to be embarrassed by the discussion.

This leads to what I see as the conclusion of this particular section, though their conversation continues, as the subject of reputation comes full circle on the bottom of page 400. Charlus goes on to tell Brichot that he was in fact the one that introduced Swann to Odette, and to claim that it was only due to the merit of his good reputation that he was able to assist her:

That, my boy, is what comes of a good reputation, you see. Though I only half deserved it. [Odette] used to force me to get up the most dreadful of orgies for her, with five or six men. (400)

In this way Charlus displays to Brichot the usefulness of his mask, and the reason that in his mind the high statistic could be entirely plausible. By maintaining the illusion of heteronormativity, of virility, he and others like him are allowed the mobility, power, and social class that they require.

Beginnings of Oral History

Kenna Titus

05/3/15

Oral History Project

At age 9 I went to see the Diary of Anne Frank, and found myself wrestling with heavy survivor’s guilt. I was an odd kid, a complex mix of intelligent, vivacious, and hugely sensitive. This left me in a constant battle between wanting to know everything, and being heartbroken by the truth; a contradiction I experienced perhaps most strongly as I learned about the holocaust. Growing up in a reform Jewish community I attended religious school twice a week, where there was a strong focus on learning the history of the Jewish people. This meant a lot of talk about the holocaust, from watching videos and looking at pictures of the camps, to discussing interpretation of Jewish laws during that time, to hearing the stories of survivors. On these days I could often be found crouching on the green tiled floor of the temple’s basement bathroom, wiping away tears and fighting an inner battle between the desire to hide my feelings, and the fascination that the information held for me. It took many years of wrestling with my empathy and my identity before I gathered the courage to learn my own family history. I was struggling with my place in the Jewish community, both because of my political beliefs and my skepticism in the face of traditional faith, when my strong interest in the holocaust reemerged. I felt a strong tie existed between my religious disillusionment and my connection with this traumatic event that had occurred over 50 years before my birth.

The search to find my family’s story led me quickly to my uncle, an Israeli judge, special forces commander in the IDF, zionist, and father of four, who had made aliyah (immigrated to Israel) at age 18. Though I was closer with my grandmother, and they were more directly her relatives, I knew that if anyone would have done all the research and be able to tell me exactly what had happened it would be my uncle. I phrased my email carefully, avoiding any and all phrases that could spark a theological debate. In answer, he sent me his “report from the IDF battalion and company commanders’ course delegation to Poland”, a personal essay he had written for family after his trip. While in Poland he had visited many of the camps, even seeing the shower chambers where his wife’s family members had been gassed. In this paper he also include the research he had done before the trip, upon learning that millions of testimonials could be found online, where he had followed my great grandmother (granny’s) family tree:

“So I took the Binstock family tree which a cousin of Granny had sent her… and immediately found about 12 testimonials, all filled out by that same cousin of Granny.  A great many of the descendants of Avraham Binstock (one of Great Grandpa Yitzchak’s eight siblings) were murdered at the time that the ghetto in the Galician town of Tarnow was liquidated by the Nazis.  Of those, most were executed on sight when found hiding together in a basement; one of Avraham’s daughters was shot along with her child, when trying to sneak out of the ghetto during the liquidation and that daughter’s husband was taken in by a gentile, who later shot him to death.  Avraham himself was murdered in Auschwitz.  I also found a photo of the Mathausen concentration camp information card about another of Avraham’s adult children.  Most directly related to us was Great Great Grandma Miriam Feige… who moved with Great Great Grandpa Aron Wolf to America (along with Great Grandpa Yitzchak).  After Great Great Grandpa Aron Wolf passed away, Great Great Grandma Miriam Feige went back to Poland and was killed in the holocaust.”

Reading this essay my uncle had written swiftly brought me to tears, and I realized in this moment how deep an effect anti-semitism and the trauma of the holocaust had on my life, despite never knowing my own family’s sufferings. This led me to my interest in this project. I have a strong desire to better understand communal traumas, and how they shape generations removed. From descendants of African American slaves, to native people (here and elsewhere), to Japanese Americans who faced internment, and so many other communities who have been shaped by oppression or genocide, there are people walking through our lives today who still bear the scars. But for this particular project I stayed close to home, focusing on the Jewish population and talking to a rabbi and a couple of my peers about the ways we have been effected. I think Rabbi Edelman summed it up well when he said during our interview “It is rather a huge kind of thing when you think about a country that was on the leading edge of science, of philosophy, of culture, this is not in my lifetime but in people who are around today’s life time, this in not ancient history… To think that the modern world could go so nuts. Think about it, people coming into your house, kicking you out, throwing you into concentration camps, killing your people…” We all grew up with this knowledge, this fear and sadness and sometimes even guilt, and it has been a fascinating journey to begin understanding the impact that has had.

What first struck me when I began to think about the holocaust in depth within the context of our lives today was that in many cases we were literally created by this event. So many families were torn apart and later reformed in new and complicated ways, and these events led to the birth of our families. This struck me as the most immediate effect on our lives, and a good place to start because it serves as an indisputable way in which some of my generation has been affected. This thought was confirmed for me as I began my interviews and people shared with me the stories of their own family’s experiences and histories. A student around my age named Aryeh who I spoke to shared his story:

“It’s just on my dad’s side, my mom’s family had been in the states for a few generations…  my dad’s side they were in Poland and my grandma was actually dating my great uncle, my grandpas older brother, I think they were in a relatively close knit Jewish community in Poland… They got exiled from Poland and ended up in Germany in the camps, both my grandparents were in Auschwitz…So my great uncle I guess died in the camps, so later my grandma was trying to get in touch with him and couldn’t but she got in touch with his brother, and they ended up getting married… but a lot of that side of the family was lost… even the people that survived had a lot of trauma”

Aryeh’s family would have been completely different without these events. His grandfather wouldn’t have been his grandfather, they might not even have left Poland. He and his family are, in a sense, entirely a result of the holocaust. Rabbi Edelman’s story also reflected this effect:

“My wife… both of her grandparents were married before the war. Both had families, one had two kids one had five kids. Both were sent to concentration camps. Their wives and kids were all killed. [My son] was named after my wife’s grandfather… He was on a train to Auschwitz and they broke a window in the corner of the train and people were crawling out. He was pushed out of that corner and he was shot twice by the Nazis, but he made it. He lived by himself for two and a half years in the woods in Poland… His father was killed in front of him… My wife’s other grandfather’s wife and three kids were killed and my wife’s grandmother… she was an Auschwitz survivor. So you just think about the weight of that, to live through that, to remarry and have another family, it’s [unfathomable].”

Somehow, they did make it through. People lived and relocated and remarried and eventually, generations later, we were born. Of course many Jews today, myself included, had family in America far before the holocaust and are not ourselves related to survivors. And yet my education, sense of self, and worldview were interminably affected by this event, and in this way “created” me.  And so, as it was the great resilience of these people that created our  lives and our culture  today, I am left wanting to examine this  strength of the human spirit: the resilience and bravery that has become myth.

 

Marcel and I

This weekend I read Proust on a train. Sitting at the station I looked up at the tall annular clock, with its moss green numbers and ornate faithfully ticking hands, and my mind was flooded with thoughts of Marcel and Time and Space and Kafka and years and years of trains. As I boarded and walked past the dining car, I saw M’s grandmother sitting there, nose buried in Madame de Sévigné, eyes occasionally rising to gaze with satisfaction at the wild french countryside whipping by. As I watched the Puget Sound out my window, I felt M sitting beside me, gazing out at the coast of Balbec he had so romanticized.

It’s fascinating how the books I read inundated the world around me; I run into  characters on the streets, sitting on park benches, walking the aisles of grocery stores and libraries. This weekend in the Seattle Art Museum I was wandering the Indigenous Beauty collection when I took a wrong turn and found myself in the European art wing, eye to eye with Lucie Léon at the Piano. Oil on canvas, Berthe Morisot, France, 1890.


To my eyes, this was a young Gilberte. Poised at her piano learning to play, just as her mother did. Perhaps one day she would happen upon that little phrase by Vinteul that her father loved so much, and send him off in some reverie with her playing. And if M has seen her portrait, I imagined how he would have looked upon it, standing beside me and staring wistfully at the subject of his admiration.

Living with Faith

Two rows up and one to the left his eyes were closed and his body shook with reverence for the words that flowed like fresh water over his parched lips. From my seated position I could see only his profile, so I waited with building anticipation for the two words from the rabbi, “please rise”, which would allow my view to stretch up to the highest my 10 year tip toes could reach. From this vantage point I knew I would just barely be able to glance through the sea of friday best, and see the focus of my curiosity, his riveting arms.

From just below the nicely cuffed half sleeves of his button up shirt to the point where his wrists met his wrinkled soft hands, every part of his arms were awash in brilliant color. These beautiful tapestries read like a page from a childrens bible book, or a section of stain glass beside the temple entryway. The images of torah’s, commandments, stars of davids, and hebrew lettering were interrupted only by the occasional bucky badger (our local basketball mascot).

As I gazed upon these works of art my sunday school teachers words rang in my head, “We aren’t supposed to change our bodies, they are perfect as god made them. People with tattoos can’t be buried beside their families in jewish cemeteries.” But this man came to temple every week and prayed with his whole body. He listened to the sermon with baited breath. As others whispered among themselves and flipped through the prayer books, his eyes never left the bimah, and my eyes never left his skin.

As services drew to an end I hopped up, ready to scurry out to the lobby for punch and five or six brownies, when I noticed he hadn’t gotten up. His walker stood untouched beside him and his eyes gazed down towards the off white carpeting. I approached him in small timid steps, intending just to get a closer look at those magnificent arms on my way out, but in the moment I should I have passed by, something stopped me. I found myself seated beside him.

“Why do ya have all those tatoos?”

The words had come unbidden, but the exhilaration I felt at finally having asked removed any possibility of regret or embarrassment. He smiled at me, and in an accented voice I had so often heard raised in prayer, slowly responded.

“See this one here?” He pointed to an almost buried number on his inner arm, “I got that one many years ago at Auschwitz. I thought about getting it taken off, but decided I’d rather surround it by these beautiful pictures. It shows I did what they never wanted, I lived. And I lived with faith.” He paused here momentarily, before smiling at me again and asking, “Do you like them? Did ya see the bucky?”

I bobbed my head up and down a few times, admiring the smiling badger.

“Wanna get a brownie?” I asked

And so together we walked out of the synagogue, his radiant arms grasping his walker and leading the way.

The Time Being

The novel A Tale for the Time Being by Ruth Ozeki is my favorite piece of modern literature, as well as being a large part what inspired me to take this class and the reason behind the name of my blog.

 

The book opens:

Hi!

My name is Nao, and I am a time being. Do you know what a time being is? Well, if you give me a moment, I will tell you.

A time being is someone who lives in time, and that means you, and me, and every one of us who is, or was, or will ever be.

 

Nao is the sweet, eccentric, and struggling teen whose journal pages are used as every other chapter of the book. She shares the role of narrator with Ruth, a middle aged author living on an island in the pacific northwest. When Ruth finds Nao’s journal, presumably many years after its been written, the two begin a kind of conversation across space and time as they each explore in their own lives buddhist and french philosophy, japanese culture, quantum physics, and what lies ahead.

The journal that Nao is writing in, that serves as a bridge between the two narrators, is a “hacked” copy of À la Recherche du Temps Perdu. This means that someone had removed all the pages from Proust’s old book, and replaced them with blank journal pages, pages to be filled with the memories of young girl in Akiba Electricity Town, Japan. Although Proust is not discussed much directly, the themes in his novel are certainly present in A Tale for the Time Being, and reading about him briefly there was what sparked my interest to study his work.

When asked how Proust influenced the novel, Ozeki said:

Both Nao and Ruth are preoccupied with the past. Nao pines for her younger days in Sunnyvale. Ruth longs for her life in Manhattan and is trying (and failing) to write a memoir. They are stuck in the dream worlds of memory.

Proust was preoccupied with the passage of time and the evocative powers of memory. He coined the term “involuntary memory” to refer to a particular quality of remembrance, in which memory of the past arises unexpectedly, often triggered by some sensual experience, and is itself experienced sensually.

These are the waters that writers and readers spend their days paddling around in. We rely on our involuntary memory both to write and to read, because our memories of our lived experiences are what bring life to the words on the page, or in Proust’s case, many thousands of pages.

I think its amazing the way that authors can be in conversation with one another centuries apart, just as the two characters in Ozeki’s novel are.  I am very much inspired by the work of both these great authors to write my own fiction and memoir pieces in which I bring my experiences to life, and with themes relatable enough to still be relevant in two hundred years.

What a true artist needs

Our readings this week discussed the culture around art and isolation in Paris in the 19th century. Harvey stated that at the time “ennui was the mark of a distinguished sensibility and an elevated mind” (213).  He also discussed the romanticism of the social outcast, stating that “the new outcasts were in there own way visionaries, not unlike the jesters and fools who both entertained and troubled the princes of the Renaissance by their insights into human nature ” (219).

This romanticism of the unhappy outcast has, I would suggest,  been prevalent ever since in a slightly evolved form: the true artist needs suffering in order to achieve authenticity. The example that comes to mind is a phenomenon from the beat generation that Norman Mailer called the “White Negro”. This was the idealization and adaption of black culture (clothing, music, drug use) by young white artists as an attempt to break free from the middle class and gain a more “hip” lifestyle.  I have recently heard it argued that part of this cultural appropriation was motivated by a desire for what the beats considered the genuine suffering of the black man,  their historical suffering serving, in the eye of the white hipster, as an enviable kind of motivation towards artistic work.  Kerouac wrote in On the Road-

At lilac evening I walked with every muscle aching among the lights of 27th and Welton in the Denver colored section, wishing I were a Negro, feeling that the best the white world had offered was not enough life, joy, kicks, darkness,. music, not enough nights.”

In certain ways this idea still exists, and I have wrestled with it to some degree when considering the lives and fates of my favorite authors. Sylvia Plath, Virginia Woolf, David Foster Wallace, all brilliant minds and writers who, it could be argued, achieved such success in writing because of their internal suffering. Although I understand that there are many counter-examples, I wonder if there is some truth in this old cliche. This idea that to suffer, to be an outcast, to experience deep inequality and unhappiness, somehow feeds the artistic soul.

What a true artist needs

Our readings this week discussed the culture around art and isolation in Paris in the 19th century. Harvey stated that at the time “ennui was the mark of a distinguished sensibility and an elevated mind” (213).  He also discussed the romanticism of the social outcast, stating that “the new outcasts were in there own way visionaries, not unlike the jesters and fools who both entertained and troubled the princes of the Renaissance by their insights into human nature ” (219).

This romanticism of the unhappy outcast has, I would suggest,  been prevalent ever since in a slightly evolved form: the true artist needs suffering in order to achieve authenticity. The example that comes to mind is a phenomenon from the beat generation that Norman Mailer called the “White Negro”. This was the idealization and adaption of black culture (clothing, music, drug use) by young white artists as an attempt to break free from the middle class and gain a more “hip” lifestyle.  I have recently heard it argued that part of this cultural appropriation was motivated by a desire for what the beats considered the genuine suffering of the black man,  their historical suffering serving, in the eye of the white hipster, as an enviable kind of motivation towards artistic work.  Kerouac wrote in On the Road-

At lilac evening I walked with every muscle aching among the lights of 27th and Welton in the Denver colored section, wishing I were a Negro, feeling that the best the white world had offered was not enough life, joy, kicks, darkness,. music, not enough nights.”

In certain ways this idea still exists, and I have wrestled with it to some degree when considering the lives and fates of my favorite authors. Sylvia Plath, Virginia Woolf, David Foster Wallace, all brilliant minds and writers who, it could be argued, achieved such success in writing because of their internal suffering. Although I understand that there are many counter-examples, I wonder if there is some truth in this old cliche. This idea that to suffer, to be an outcast, to experience deep inequality and unhappiness, somehow feeds the artistic soul.

A Turning Point

Crouched behind the shelf of Baby-Sitters Club books in the Van Hise Elementary School library, I sped through line after line of Anne Franks Diary of a Young Girl. When lunch came to an end, I tucked the book below crumpled sheets of cursive practice in my backpack, tried to remove the emotion from my face, and headed  for class. Age 9 and aware that I should hide my “sensitivity”, I had some inkling that my parents might be less than pleased with my literary choices. I didn’t picture their reaction as worried so much as frustrated, frustrated like they had been at my reaction when I was told about the war. My tiny brows had scrunched up and tears had  leaked onto my cardigan at the thought of soldiers dying in some abstract place called “Iraq”. My sobs of “They can’t be dying! How can I help them? I can’t let them die!” were met by a familial consensus that I really shouldn’t have been told, as I clearly “couldn’t handle it.” Following this  experience and many similar ones, I had started closing off my intense emotion, and so kept my growing horror at the genocide of my people to myself.

 

Hiding my emotions became more difficult, though, as thanks to my insatiable curiosity I soon found other books about the holocaust which depicted  more graphic scenes. In one, emaciated men stood with their backs pressed to fences, their eyes as empty as their stomachs. In another, shoes, suitcases, and other belongings unwillingly left behind were piled atop one another in heaps of thousands. But the image most memorable to my young mind was that  of a girl with short brown hair, a quiet, pained face, and deep brown eyes that stared back at mine. Nearly the only perceptible difference between us was the golden star of david pinned to her shirt.

 

Two months later, my mother came home with news.

“I’ve gotten tickets for you, aunt Ann, Nana and I to go see the play of Anne Frank!”

I froze in my seat, filled with equal parts dread and fascination. Although my reading caused me pain I couldn’t stop, I was filled with a deep need to try and understand peoples suffering as if somehow this knowledge could save them, and I couldn’t turn down the opportunity to learn more. In the following weeks my anticipation grew as I tried to prepare myself to be stone faced in front of my family. When the day finally arrived I spent the car ride running my fingers up and down the soft hem of my nicest velvet dress, chanting to myself “You will not cry. You will not cry. You will not cry.”

 

Three hours later when the house lights came up my mother looked over to find me sobbing silently, my hand quivering and pressed to my lips. The entire walk to the japanese restaurant no one could get me to move that hand and no coaxing could make me utter a single word as sobs wracked my small frame and my face turned from its normal olive tone to red and then a worrying purple.

 

Finally, on the concrete stoop of “Sushi Takara” with only my baffled mother and a homeless man in a down coat bearing witness, the thought I’d been wrestling with since opening the diary months earlier burst from my lips.

“I wish I could have died instead of her”

Survivors guilt, at the age of 9, had overwhelmed me. I couldn’t be soothed  or reasoned with; my intense sense of empathy had made it impossible for me to face  my privileged life when confronted with so much suffering. Staring into my mother’s confused eyes, I understood for the first time the weight of my distinctive sensitivity. I constantly absorbed the emotions of the people around me, felt first hand the struggles of even fictional characters, and the abstract sufferings of people I would never know hurt me as deeply as if they were happening in my own life. I didn’t have the ability so many others seemed to possess to close myself off from the emotions of the world. I was not a drama queen. I was not over reacting. I was an empath.