Traumatic echoes of memories in child survivors' narratives of the Holocaust: the Polish experiences of Michał Głowiński and Henryk Grynberg

Drawing upon the important contribution brought by literary testimonies to humanitarian work delineated by Susan Rubin Suleiman (2002) and Leigh Gilmore (2011), this paper analyses two Polish Jewish authors' autobiographical narratives, Micha? G?owiński's The Black Seasons (1999) and Henryk Grynberg's The Jewish War (1965) and Victory (1993), as instances of literary child-witnessing the Holocaust. The two authors' narratives represent two different cases of child survivors' testimonies given their situation during the Second World War: G?owiński being encamped in the Warsaw Ghetto, Grynberg living in hiding. The author argues that their narratives present the case of child survivors whose Holocaust experiences and aftermath memories in Communist Poland spring from their primarily scattered and painful memories foregrounding the importance of vulnerable lenses. In light of this, the main question the author addresses is: to what degree do these children's war memories take specific stances as a function of the age they were during the Holocaust and their location (either being encamped or living in hiding)? The main contention of the paper is that Second World War children's literary testimonies contribute to present-day scholarship by their complex understanding of the multi-faceted character of humans whose specific bulwarks are the simultaneous exposing and acknowledgement of individual occlusions, ambivalences, limitations or randomness.     

The image of ‘all good Italians’. The Eichmann trial seen from Italy

ABSTRACT

The Eichmann trial held in Jerusalem in 1961 marked a turning point in the international public’s collective awareness of the extermination of Jews in Europe. In Italy, the trial contributed to the mainstream narrative of the events that concerned the deportations of the Jews. The Italian case was mentioned in the indictment of the attorney general, Hausner, and in the deposition of the only witness present at the trial, Hulda Campagnano. In this article, our analysis of the trial’s reception in Italian newspapers and media shows that the Jerusalem reports, especially through misrepresenting the words of Campagnano, created the image of Italians as ‘good people’, who would help Italian and foreign Jews, against the wishes of the Nazis. At the same time, the responsibility of Italian Fascism for the anti-Jewish laws in 1938 and the role of Italians in the arrests and deportations of Jews since 1943 have been neglected.     

Between Apartheid,the Holocaust and the Nakba: Archbishop Desmond Tutu’s Pilgrimage to Israel-Palestine (1989) and the Emergence of an Analogical Lexicon

ABSTRACT

On 22 December 1989, the anti-apartheid activist and Nobel Peace Prize laureate, Archbishop Desmond Tutu conducted a Christmas pilgrimage to Israel and the Occupied Territories. Tutu used his visit to relay political messages in support of the Palestinian liberation struggle and to criticize Israeli-South African ties, and his statements evoked sever criticism on the part of Zionist Jewish constituencies. Through a tighter focus on Tutu’s various public statements and their reception in the years leading up to the visit, this article traces the history of different sets of interlocking analogies in Tutu’s thought, positioning his 1989 visit to Israel-Palestine—neglected thus far in the critical literature —as a landmark in his thinking. In so doing, it offers a critical analysis of another instance of the Israel-apartheid analogy in the political struggle against the Israeli occupation. At the same time, it points to the genesis of the analogy in Tutu’s ongoing engagements with the suffering of Jews during the Holocaust.     

The Nanjing Massacre and the traumatic memory of Nanjing residents

ABSTRACT

The Nanjing Massacre of 1937 is a historical tragedy that is hard to erase from the collective memory of Nanjing residents. Since 1982, the Nanjing Massacre Memorial Hall and other monuments have been established as a Chinese response to the Japanese revision of their high school history textbooks, and these facilities have opened a mnemonic channel for the Nanjing people to link history to reality. In the Nanjing people’s traumatic memory, the historical facts of the Nanjing Massacre of the contemporary nationalistic sentiments are entangled and symbiotic. Many survivors have profound factual memory of the massacre, yet they have shown tolerance and forgiveness to the victimizers. While their memory has transcended the primitive stage of retaliation, the traumatic memory of mankind should be transformed into invaluable resource of the human endeavor to pursue peace.     

Introduction: Marginalised Histories of the Second World War1

This special issue, stemming out of the AHRC-funded Teaching and Learning War Research Network (2017–2020), is published at an important juncture in cultural memory: as the focus of public commemorative events in Britain and the Commonwealth shifts from the First to the Second World War, including the Holocaust. Not only does it showcase exciting and cutting-edge research, but it also aims to stimulate conversation and ‘forward-thinking’ about commemorative cycles over the next two-and-a-half decades (2025–2045). The three research articles and four provocations focus, in different ways, on the question of ‘hidden histories’ in the expectation of a need to ensure that diversity, multi-perspectivity, complexity, and contention remain at the heart of ‘national’ commemorative processes (whether in Britain or elsewhere).     

ON THE MANY WAYS OF SAYING MEMORY

This essay examines the concept and the discourse of collective memory in view of interpreting the novel function with which it has been endowed in recent decades and the problematic character of its interpretation. To this end, it focuses on the recent book by Manuel Cruz, On the Difficulty of Living Together: Memory, Politics, and History, which examines the contemporary functions that collective memory has assumed in recent decades and takes into account interpretations of it elaborated in a number of seminal works that have set the framework for contemporary ways of understanding it. My investigation engages critical analysis of the psychological approach to collective memory that Cruz adopts, which, in interpreting recent public preoccupation with collective memory as an expression of trauma occasioned by the Holocaust and other horrific twentieth‐century events, assumes that analogous psychic mechanisms govern forms of remembrance in the public sphere and memory in personal and small‐group interaction. By taking into account alternate possibilities of interpretation, suggested above all by the public function of the mass media, I seek to widen the scope of enquiry to scrutinize in a broader perspective the contemporary role of collective memory and its political significance in the public realm.     

BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

THE FINAL PHASE?

This essay reviews the recent book by Carolyn Dean that seeks to elucidate the ways in which complaints about a “surfeit of memory” and the privileging of Jewish victimization during the Holocaust as unique and as the emblem of radical evil in our times has shaped discussions of victims in general, creating an environment in which groups vie for victim status as a means of validating their grievances and making claims for justice. The hostility to such claims has, Dean argues, created antivictim discourses that end up generating aversion toward victims, primarily by denying the validity of their claims to suffering and, in the case of Jews, projecting them as “perpetrators” in their neglect of the suffering of others. At the same time, Dean argues, the demand that victims narrate their suffering in the aesthetically constrained style of “minimalism” equally undermines the legitimacy of victims' memories by demanding that they be presented in an already mastered form, thereby erasing the very trauma that, in principle, such narratives seek to represent. At stake in the debates concerning Holocaust memorial consciousness and its proper modes of representation, this article suggests, are larger historiographical and ethical issues about how to integrate the horrors of the past and the traumatic experience of terror into the normal protocols of historical writing, which rely on distance, objectivity, and interpretive critique as governing procedures. To incorporate terror into historical representation will mean acknowledging and accepting as historiographically legitimate the differing status of analytically recuperated “facts” and victim testimony and finding a way to theorize the reality of “voices” from the past without assuming the necessary “truth” of what they convey.     

‘Dissidence’ in Holocaust Memorials in Literature: Jáchym Topol’s The Devil’s Workshop (Chladnou zemí)

Abstract

Established Czech precedent has made the town of Terezín an important literary symbol of Holocaust memory, used in the 1960s to construct myths of Czech innocent victimhood. Jáchym Topol’s novel, The Devil’s Workshop (2009), returns to the theme with great originality, avoiding such myths by using a compromised first-person Czech narrator, who is involved in setting up ‘dissident’ commemorative museums at Terezín and in Belarus. These draw on documented accounts of real atrocities for their authenticity. Competitive in national terms, commercialized, and ethically compromised, they are finally, arguably inevitably, silenced. Topol’s ‘truth-telling’ is discussed in the context of Theodor W. Adorno’s criticism of committed Holocaust literature, Benedict Anderson’s interpretation of museums as commercialized constructions of nationality, and Timothy Snyder’s historical account of the killings in Eastern Europe; the ambiguous pessimism of his novel stands up well to criticism and, it is argued, has lessons even for historians of the Holocaust.