Those Americans who are familiar with the name Claude Lanzmann most likely know him as the director of “Shoah,” his monumental 1985 documentary about the extermination of the European Jews in the Nazi gas chambers. As it turns out, though, the story of Lanzmann’s eventful life would have been well worth telling even if he had never come to direct “Shoah.” In addition to film director, Lanzmann’s roles have included those of journalist, editor, public intellectual, member of the French Resistance, long-term lover of Simone de Beauvoir and close friend of Jean-Paul Sartre, world traveler, political activist, ghostwriter for Jacques Cousteau — I could go on, but it’s a good deal more entertaining to hear Lanzmann himself go on, and thanks to the publication in English of his memoir, “The Patagonian Hare,” we now have the opportunity to do so. (previously)
posted by Trurl on Apr 16, 2012 - 6 comments

Poetry in Hell contains a complete collection of poems recovered from the Warsaw Ghetto's Ringelblum Archives. The project, which took ten years to complete, gives English translations of poems that are shown in their original Yiddish. [more inside]
posted by zarq on Jul 23, 2010 - 9 comments

"So much for “never again.” So the problem has obviously not disappeared."
Raul Hilberg (1926-2007, NYT obit) explains why he added a chapter on Rwanda to the last edition of The destruction of the European Jews, a work that took him a lifetime and 3 editions to complete, meeting with indifference, then with criticism from those who didn't share his (at the beginning) functionalist view of the Holocaust. Hilberg became involved in other controversies about the Holocaust, but "The Destruction..." remains the "the closest of any work in print to being the Summa of Holocaust studies" (Christopher Browning). Also: Hilberg intervied by Claude Lanzmann in "Shoah" (YT) (previously).
posted by elgilito on Aug 7, 2007 - 41 comments

In 1945-46, some of the (very few) Polish Jews who had survived the Final Solution returned -- sick, poor, wounded -- to Poland. In Elie Wiesel's words, "they had thought all too naively that antisemitism, discredited 6 million times over, had died at Auschwitz with its victims. They were wrong." In 2001 Princeton professor Jan T Gross published the story of the 1941 destruction of the Jewish community at Jedwabne, Poland, and proved how Jews were rounded up, clubbed, drowned, gutted or burned to death not by German forces as previously believed but by mobs of their own non-Jewish neighbors. Now professor Gross tells the story of the Kielce pogrom in his new book, "Fear". Of course, the Kielce butchery took place in 1946 -- more than a year after the end of WWII and defeat of Nazism. More inside.
posted by matteo on Jun 25, 2006 - 107 comments

Mahler performances were rare in Vienna in those days because Mahler's city had already been contaminated by the acolytes of Adolf Hitler. By their reckoning, Mahler's music was loathsome — a product of "Jewish decadence." To put Mahler's music on the program was therefore a political act. It was to protest and deny the hateful faith that blazed across the border from Germany. That much I understood quite clearly, even as a boy.
The New Yorker's Alex Ross reprints Hans Fantel's New York Times 1989 essay on Bruno Walter's 1938 performance of Mahler's Ninth Symphony -- the last performance of the Vienna Philharmonic before Hitler invaded Austria.
posted by matteo on Apr 10, 2006 - 7 comments

"They are demanding that I kill the children of my people with my own hands"
On October 4, 1939, a few days after Warsaw's surrender to the Nazis, Adam Czerniaków was made head of the 24 member Judenrat, the Jewish Council (write "Czerniakow" in the linked page's search box) responsible for implementing German orders in the Jewish community (interactive map of the Warsaw ghetto). On July 22, 1942 -- Tisha B'Av, the "saddest day in Jewish history" -- the Judenrat received instructions that all Warsaw Jews were to be deported to the East (exceptions were to be made for Jews working in German factories, Jewish hospital staff, members of the Judenrat and their families, and members of the Jewish police force and their families. Czerniaków tried to convince the Germans at least not to deport the Jewish orphans). Czerniaków kept a diary from September 6, 1939, until the day of his death. It was published in 1979 in the English language as the "The Warsaw Diary of Adam Czerniaków: Prelude to Doom", edited by one of the most prominent Holocaust scholars, Raul Hilberg. More inside.
posted by matteo on Feb 17, 2006 - 23 comments

Operation Anthropoid. In 1942, a group of Czech and Slovak exiles parachuted into their Nazi-occupied homeland and assassinated (hi-res pictures, scroll down) SS-Obergruppenfuehrer Reinhard Heydrich, one of the architects of the Final Solution, the "Butcher of Prague." For the first time since the end of the World War Two, a German museum is offering a close look at "Operation Anthropoid," the codename for the only successful assassination of a member of Adolf Hitler's inner circle.
posted by matteo on Jan 31, 2006 - 36 comments

"Ala ZongGoNin! Ala YouTaNin!". Jerry Moses last walked on Gaoyang Road in 1947. It was called Chaoufoong Road then, and it was home to many of the 18,000 European Jewish refugees who had sought refuge from Nazi Germany in Shanghai's Hongkew District (today known as Hongkou) during the run-up to World War II. He casts his gaze at the lane, his brow loosens and he begins to nod. "This is it, this is it," he says softly. "I know this is it." One week into his first visit to Shanghai in almost 60 years, Moses has found his third home in an exile that lasted from 1941 to 1947. He strides into the space, his manner now much closer to that of the 12-year-old boy who had left than the 70-year-old man who has returned. More inside.
posted by matteo on Jan 19, 2006 - 13 comments

Eroica. Film director Andrzej Munk’s tragic death at age thirty-nine might have formed the plot for one of his own darkly sardonic works: a Polish Jew and an active resistance worker during the war, he was returning home from shooting his film Passenger at the Auschwitz concentration camp in 1961 when an oncoming truck struck his car. He left behind only four feature films, but his influence was prodigious. As one of the key figures of the postwar “Polish School” of filmmaking, along with Wajda and Kawalerowicz, he helped to shape a vision that broke with the official social realist optimism of Eastern-bloc dogma and cast a skeptical eye on official notions of heroism, nationalism, and life in the Stalinist-occupied state. Mentor to Roman Polanski and Jerzy Skolimowski, his influence can be felt even in the films of a later generation of Polish filmmakers — directors like Zanussi and Kieslowski. More inside.
posted by matteo on Dec 7, 2005 - 7 comments

Goodnight, mr. Wiesenthal
posted by matteo on Sep 20, 2005 - 68 comments

you'll then have a grave in the clouds where you won't lie too cramped
"No, no, I never met Paul Celan. This poem is too CLASSIC, too cold, and too difficult to follow. It does nothing to me".
Singing, Painting and the Holocaust: Interview with Leon Greenman, Auschwitz Survivor 98288
posted by matteo on Aug 29, 2005 - 9 comments