Tag Archives: Holocaust survivors

Sonnet for the survivors.

by Linda Laderman (Commerce Township, MI)

Praise the Holocaust Survivors who ask us never to forget, but live life 

in the present and the future. Praise their resilience, the ones who dance 

the Hora at their grandchildren’s weddings, the grandchildren they couldn’t

imagine they’d have, the weddings they couldn’t dream would take place.

Praise the pastries they take home wrapped in a napkin, because they can’t

know for sure if the cake will have to be left in haste, a dish of dry crumbs.

Praise their unwillingness to take freedom for granted, to refuse to bow to

the demands of demagogues, to stay clear-eyed about our new fear mongers.

Praise the man who hid in plain sight, moving from place to place to evade

the Jew hatred, then began a life in America where he believed he was safe.

Praise him, and his wife, who at 83, bakes cookies because, she says, every-

one deserves sweetness in their life. Praise the children who come to visit 

the Holocaust Center, then walk wide-eyed around the train exhibit, and ask

why Jews were forced into cattle cars. Praise their young eyes, because they see.

Linda Laderman grew up in Toledo, Ohio, where her family belonged to B’nai Israel Synagogue. Though she attended Hebrew and Sunday School, no one spoke of the Holocaust. In 1959, when she was ten, Linda had a Hebrew teacher with numbers tattooed in her arm. Curious, she asked what they were, but her question went unanswered. Years later, as a docent at The Zekeleman Holocaust Center near Detroit, she came to better understand the reluctance of many survivors to talk about their painful past. Linda is a past recipient of Harbor Review’s Jewish Women’s Prize and has received a Pushcart Prize nomination. Her poetry and prose have appeared in many literary journals and media outlets. She lives near Detroit with her husband Israel Grinwald. Linda dedicates this Sonnet to the survivors of the Shoah. For the six million who did not survive, may their memory be a blessing. 

If you’d like to read more of her work, here are two poems that she shared previously with The Jewish Writing Project: Observations and An Invitation.

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Henoch: An Inventory

by Barbara Krasner (Somerset, NJ)

After Lauren Russell

A butcher’s apron pockmarked with dried blood that banging it against the river’s rocks cannot erase. An abacus to calculate the change he owes his patrons. The skill to sever an animal’s carotid arteries, jugular veins, and windpipes in one swift move. A sharp butcher’s knife to cleanly sever a chicken’s head and to break a cow down to its finest parts to sell at a premium to anyone who can afford it. His cleaver whacks away his disappointments until his own fingers bleed with hope for his children. Evening candlelight to read the sacred texts and pray. Meetings of the Baron Hirsch School trustees. His children, even the girls, will get an education, damn the naysayers. An American stamp on his passport from when he arrived in New York with younger brother Benzion. An Austro-Hungarian Empire stamp on his passport from when he returned because Pesia was pregnant. She needed him. No photographs to fold into Chava’s hands when she leaves for America. Plans for his widowed mother’s aliyah to Palestine. The burden of this place and time. No prescience that all but two of his children–the eldest and the youngest–will be murdered. Of the four grandsons named for him, only Herman Krasner is born under the flag of the American Dream.

while the others lie

in the sky in the ashen

shadow of the moon.

Barbara Krasner holds an MFA from Vermont College of Fine Arts and a PhD in Holocaust & Genocide Studies (HGS) from Gratz College, where she teaches in the HGS graduate programs. The author of two poetry chapbooks and three novels in verse, her work has appeared in Jewish Literary Journal, Tiferet, Minyan, Jewishfiction.net, Michigan Quarterly Review, and elsewhere. She serves as Director, Mercer County (NJ) Holocaust, Genocide & Human Rights Education Center.

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My Mother Museum

by Lev Raphael (Okemos, MI) 

First Gallery

My father lost her cookbook after multiple moves, the black-and-white student’s notebook in which she wrote down her favorite recipes in bold, foreign-looking script. It was the one possession of hers I wanted most after she died.  I relished watching her cook with the ease and flair of a professional chef in our dimly-lit Washington Heights kitchen with a view of another Depression-era apartment building across the street.  Same gold and brown bricks, with an equally ridiculously English name like The Windermere in a neighborhood that had been filled with German-Jewish refugees and was slowly becoming Hispanic.  But the book was unique, my mother as curator.

Second Gallery

The small cameo brooch of a woman in profile must be fifty years old or more but looks brand new because she never wore it.  A friend brought it back for her from Italy is all I remember her saying.  But who?  Was it the Polish man I heard about from a family friend after she died, the man she “should have married,” a socialist from Vilnius like her instead of my born-on-a-farm father?  Why did she keep it if she never put it on/why did she never put it on?  What did it mean to her?  I’m asking these questions too late.  It nestles in its white cardboard box lined with cotton, untouched, pristine, a buoy in a mysterious sea.  

Third Gallery

The cream-colored enameled compact weighs over half a pound, is embossed with leaves and a bird in flight.  Embossed in gold and made in France: modèle déposé, registered design.  There’s room for a lipstick, there’s a mirror inside on the left, there’s a lidded compartment for face powder on the right.  It’s an object out of a film noir, the kind of thing a lustrous femme fatale would use with magical, elegant hands to make herself up while people stared at her effrontery, her chic.  Oh, she was definitely chic.  One of her students from Belgium said “Elle avait du chien“: French for desirable, intelligent, and strong.  I see that in some photos from the late 40s.  By the 50s the look has disappeared and she’s an American housewife.

Fourth Gallery

Hanging in her closet in a plastic dry cleaner’s bag like any ordinary dress was the slave labor camp dress she was wearing when freed by Americans in eastern Germany, April 15, 1945.  Dark gray strips that seem almost purple on light gray stripes.  Thin, grim cotton with a roughly-sewn beige number patch above her heart.  The number helped me access German records of her incarceration in ghettos and camps.  Was this relic kept as evidence that she might not have survived if WWII had lasted longer?  That the crimes she endured were real?  It won’t tell me.  Can you really call it a “dress” or even a “uniform”?  Reality seems too big for such small words, for the bomb lurking there day after day. 

Last Gallery

This particular lined notebook has not been lost, but I wish it had been.  Black-and-white exterior, starker still inside: a record of her deepening dementia caused by years of chain smoking.  Here, instructions are repeated about when to take which pill.  Bits of news randomly copied from the New York Times.  Worst of all, grotesque, are the definitions of “Memory” she transcribed from a dictionary.  Remember, Remember, Remember says every miserable page.   The desperate lament of a mind drifting out to sea, the words of a voluble, witty, multi-lingual woman ordered at first, then scrambled, finally misspelled, broken, gone.  I want to destroy it but I can’t—it’s her anguished Last Will and Testament.

Gift Shop

CLOSED

Lev Raphael is an American pioneer in writing about the Second Generation, a project that he began in the late 1970s.  He’s the author of Writing a Jewish Life, Dancing on Tisha B’av, My Germany and 24 other books in many genres.  His work has appeared in fifteen languages and he’s done invited talks and readings in Israel, France, Belgium, Italy, Germany, England, Scotland, Canada and all across the US.  Venues included the Jewish Museum in Berlin, Oxford University, and The LIbrary of Congress. Lev taught creative writing at Michigan State University and Regents College in London, and has been invited to teach at Leipzig University in Germany.  Michigan State University has purchased his literary papers and they are available to students and scholars for research.

The piece first appeared in The Chaffin Review and is reprinted here with permission of the author.

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Jewish Questions

by Nina Zolotow (Berkeley, CA)

I’m sorry,” the Danish receptionist said in English. “But I’ll need to search your bag before you go in.”

When we had planned our second trip to Copenhagen, I hadn’t thought of going to the Dansk Jødisk Museum, the Danish Jewish Museum—I didn’t even know that it existed. But it turned out that the fifth-floor apartment I’d rented for our week-long stay in the Norrebro neighborhood overlooked a beautiful, old Jewish cemetery from the 17th century. The first time I stood on the apartment’s balcony, I noticed that in the shade of several very tall, slender trees, there was a cemetery, not the park I had expected. It looked wild and untended, with countless worn, old gravestones of varying sizes, some standing straight up, some crooked, and others lying completely flat, all surrounded by lush, flowering summer weeds. And at the opposite end of the cemetery from our apartment, there was an old brick wall that had a small gate in it. The sense of death, of life, and of history all together left me with a quiet feeling of awe.

However, I hadn’t even realized that Jews had lived in Denmark since the 17th century, and now it turned out there had been enough Jews in Denmark to fill up a cemetery. But, of course, Jews went everywhere, didn’t they? Wandering Jews, they called us in the 19th century because we were always looking for ways to escape oppression, persecution, and violence—always searching for places we could call home. That was what became the “Jewish Question.”

But even after exploring the cemetery itself, which was founded in 1694 and was 13,500 square meters with around 5,500 burials, and then reading up on the history of Jews in Denmark, I was left with many questions.

My husband, Brad, was also intrigued. So, when I told him I discovered in my online searches that there was a Jewish museum in central Copenhagen, he immediately said, “Let’s go!”

It took us a while to find the museum because it was, to our surprise, part of the complex of old buildings surrounding the Royal Palace and the entrance was through a very small contemporary addition to a larger old building. When we walked through the front door into the museum’s lobby, there was just one person sitting at the reception desk and we were the only visitors in the room. The receptionist spoke perfect English, but she was very Danish-looking—blond, blue-eyed, and with Scandinavian features—so she was clearly not someone who shared my heritage.

After we bought out tickets, the receptionist asked us whether we wanted to use one of the lockers before we went into the museum. When we said no, she searched my very small handbag.

The receptionist apologized again after I showed her the sunglasses, sunscreen, lipstick, tissues, and charge cards that I had tucked into my little cross-body bag.

“I understand,” I said. “I’m Jewish so I appreciate you being careful.” Still a wave of unease washed over me at the thought that even here in Copenhagen—where everyone seemed so civilized, so very nice—extra security was needed at any place that was “Jewish.”

When we walked through the doorway into the museum proper, we entered a very unusual space. Although the outer shell of the building, which was originally the Royal Boat House from the 17th century, had brick walls, large arched windows, and vaulted ceilings, the interior was very modern and untraditional. The inner, white paneled walls were tilted and asymmetrical, and they seem to be arranged in some kind of labyrinth. And the wooden floors that guided visitors to the exhibits embedded in the walls were sloping instead of flat. Altogether, the design left me feeling tipsy and off balance.

Then, we noticed a very odd little display that had video images of Jewish people projected into a small model of a two-story house and a companion audio track promising a brief history of 400 years of Jewish life in Denmark, starting with the arrival of the very first Jewish merchants back in 1622. So we sat down together and put on the headphones. And as soon as I heard the narrator begin with these questions — Where are you going? Are you going home? Where is home? I started to cry.

At first, I felt embarrassed about the tears flowing down my cheeks, but then I thought fuck it, it’s a Jewish museum and I’m Jewish, and if I fucking feel like crying I’ll fucking cry even if I have no idea why. My sorrow felt so primal, triggered instantly from somewhere deep inside me.

As I continued listening to the audio presentation and watching the display, I calmed down. Most of what the presentation covered was information I was already familiar with by then—how the first Jews in Denmark were Sephardic merchants invited by Denmark’s King Christian IV to settle in a new town, Glückstadt, on the river Elbe, in the early 17th century. The story is that King Christian thought that having Jewish merchants living in his new town would bring more business to the community. Later Ashkenazi Jews, like the Jews I’m descended from, also joined the Sephardic merchants.

I even laughed to myself when I saw the video images of actors playing early Jewish merchants in their storehouse with bags of coffee beans and chocolate. Ah hah! I thought. They tolerated the Jewish traders because they wanted all that good stuff those Jews knew how to obtain. But then they showed a short scene illustrating how the Jews back then had to practice their religion in secret, hidden behind drawn curtains and closed doors in their own houses. It turned out that the dispensation made for the Jews by King Christian only included protection, the right to hold “private religious services,” and the right to maintain their own cemetery. I quickly realized that being “tolerated” and “protected” was not the same as being an equal member of Danish society. Same old, same old, I thought.

Eventually, though, in the late 18th century, the King expanded the rights of Danish Jews, allowing them to buy real estate, establish schools, study at the university, and join guilds. Then, finally, a royal decree on March 29, 1814 granted the Jewish people the same rights as other citizens. In contrast, the Russian Empire, where all four of my grandparents were born and where they were restricted to living within the Pale of Settlement, never granted citizenship to the Jews who lived within its borders.

However, for various reasons—the Danish government restricting immigration to people who had money, Danish Jews intermarrying with Danish Christians—the population of Jews in Denmark during the 400 years after they first arrived remained fairly small. And now the population was only about 6,000.

After the presentation was over, we walked through the rest of the museum, which was dedicated to the more recent history of the Jews in Denmark, especially during World War II. We learned that the walls inside the museum were carefully arranged in form of the four Hebrew letters that spelled mitzvah, which is the Hebrew word for “commandment” and also for “good deeds” that fulfill a religious commandment.

The mitzvah that the museum was designed to reflect was the aid the Danish people gave to their Jewish neighbors, over 7,000 in total, during the Nazi invasion, when they helped almost of all them to escape on boats to Sweden, which was neutral during the World War II. Later, after the war was over, almost all the Jewish refugees returned to Denmark, though some then emigrated to Israel, the United Kingdom, and the United States. That’s why Denmark had the highest survival rate of Jewish people of any country invaded by the Germans: 95 percent. And two of the people who were saved from the Nazis became well-known public figures. Danish physicist Niels Bohr, whose mother was Jewish, was one of the early refugees who fled to Sweden, and, after he himself evacuated, he helped arrange the mass rescue of over 7,000 Danish Jews. And Arne Jacobsen, an architect and mid-century modern Danish designer, escaped on a small boat to Sweden and spent his two years there creating fabric designs based on Swedish nature. After he returned to Copenhagen, he became world renowned for both his famous buildings, such as The Stelling House and Aarhaus City Hall, and for his designs of everyday objects, including his iconic Egg chair. He is now considered the grandfather of modern Danish design.

This, I knew, was in stark contrast to the fate of the Jews in Lithuania, the country my mother’s family was from, where the Lithuanian people aided the Nazis in exterminating their Jewish neighbors, resulting in the lowest survival rate for Jewish people out of all the countries invaded by the Germans, only 5 percent. The Nazis didn’t even need to move the Jews of Lithuania to concentration camps because the work of taking people into the woods, shooting them, and burying them in mass graves was often done by the Lithuanians themselves. And I knew too that some of my maternal grandmother’s family members who had not emigrated from Lithuania before the war, including her two brothers, Leizer and Laibl, were murdered in this exact way.

“Even though it’s still a bit weird to me to think of Jews living in Scandinavia,” I said to my husband, “They were right to come here.”

As we walked out of the museum into the sunny courtyard, I noticed that what had originally looked like an abstract sculpture outside the museum’s entrance was actually the outline of a ship. And I realized then that with its slanted, uneven floors and its angled walls, the museum had intentionally evoked in me the visceral sensations of walking on a small boat out at sea and the disorientation of a world turned upside down. Those feelings were still clinging to me.

As I found my feet again on the steady earth of the low-lying, flat city and we headed back to the apartment overlooking the old Jewish cemetery, I remembered that—come to think of it—today wasn’t the only time I had cried in a Jewish museum. The first time was in 2019 at the end of our visit to the Jewish museum in Sevilla, Spain, which we decided to visit only because it was just a couple of blocks from where we were staying, which, by chance, happened to be in the old Jewish quarter, now called Santa Cruz, adjacent to the Alcazar. The story was that the Jewish quarter was right next to the royal palace so everyone would know that Jews there were under the protection of the king.

Even though Sevilla once had the largest Jewish community in Spain (around 5,000 people, including doctors, scientists, lawyers, merchants, and money lenders) with 33 synagogues, the Centro de Interpretaction Juderia de Sevilla was small and modest—just a few window-less rooms in a very old Sephardic house. Displayed on colored walls, the exhibit was mainly a collection of manuscripts, maps, and other documents, some from the 1391 pogrom and some from the time of Spanish Inquisition, along with legends about a few of the people who had lived in the Jewish quarter before the Jews were expelled from Seville in 1483 and a small number of everyday objects they had left behind. These all just left me feeling vaguely sad. All those written explanations and stories printed on placards, and old “things” behind glass felt like tales from a distant past that had nothing to do with me. In the last room before the exit, the delicate, yellowed dress of a child who had once lived in the Jewish quarter evoked a small wave of sorrow within me but didn’t move me to tears.

However, when we followed the signs to the exit, which led us in a different direction than the entrance, we walked through a room where there were dozens of large black iron keys hanging from the ceilings on strings. Without knowing what those keys signified, I felt an upswelling of a very powerful but unnamable emotion.

“Wow,” I said to Brad, as I stopped walking and just looked up at all those keys.

“Yes,” he said. “It’s intense.”

Then, after we passed out of that final room and returned to the reception area, I asked the receptionist in English, “What is the meaning of those keys?” She explained that when the Jews were expelled from Spain in 1492, the Jews of Sevilla took their house keys with them because they hoped they’d be able to come back to their homes one day. Living in exile, they had passed those keys down to their descendants, generation after generation after generation, until now, when those very same keys were donated to the museum. And that’s when I started to cry.

When I returned to the US after visiting Copenhagen, I walked to Indian Rock in the Berkeley Hills and climbed up the steep steps that were carved into the rock to reach the top. I wanted to see the panorama that never fails to thrill me—the great San Francisco Bay shining in the sun, with Mount Tamalpais to the northwest, San Francisco to the southwest, and in between the Golden Gate, the entrance to the bay that opens out into the Pacific Ocean. “Is this my home?” I wondered. Of course, I was born in California and lived here most of my adult life, but sometimes I felt like a stranger here on the Pacific Rim, half a world away from Eastern Europe where all four of my grandparents were born. 

All those keys in the museum in Seville were so heartbreaking because of the hopes they represented—for hundreds of years, people held onto those keys on the chance that one day, someday, they might be able to use them once again to open the doors their ancestors had closed behind them when they were expelled from Spain. But I never had that kind of hope. The only relatives of my Lithuanian grandmother who survived the Holocaust were two of her sister’s children, Israel and Leah. After the war, the siblings met up in Lithuania and went back to their old house in Kudirkos Naumiestis. There they found their home was already occupied by Lithuanians who refused to leave. So Israel left for Brazil and Leah made it to Israel. Why would I ever think about going “home” to a place like that?

On the other hand, there I was at that moment on top of a large, volcanic rock on land where for six thousand years the xučyun (Chochenyo speaking Ohlone people) had lived, but which after that was claimed by Spain in 1542, and after that was owned by Mexico when it became independent in 1821, and after that was purchased from Mexico by the US after the Mexican-American war in 1848. I just looked out at the view and took it all in.

Nina Zolotow just loves to write, and she has been doing it for her entire adult life. Currently she is writing creative non-fiction and experimental fiction/poetry, which you can find on her blog Delusiastic!, where there is both brand new and older works, and you can also subscribe to her on Substack, where she is releasing one story a week. Nina has also written or co-written four books on yoga (see yogafortimesofchange.comas well as being the Editor in Chief and writer for the Yoga for Healthy Aging blog for 12 years. Before that there was 20 years of writing instructional manuals for the software industry, including many books for programmers. And somewhere in there was an MFA from San Francisco State in Creative Writing. All of that taught her how to write simply and clearly when needed but also to go crazy with words when that seems right. 

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Apple Strudel from Cramer’s Bakery 

by Julie Standig (Doylestown, PA)                      

Because it was Rosh Hashanah I was on the hunt

for good strudel and a mislaid memory.

Because of a trip to Poland, coffee and strudel

was a must-have at Café Mozart in Prague’s Old Town.

Because strudel and Eastern Europe are intertwined,

Rudy’s words, spoken long ago, come to mind.

Because he slowly stood up on our visit to Terezin’s

hidden synagogue to speak about his mother.

Because his eyes filled with tears as he recalled

the flaky pastry she rolled to cover the dining room table.

Because she crafted not only strudel but a tender memory

that Rudy clearly told at the age of eighty.

Because I left the bakery with apple strudel in tow, hands

tightly placed on the steering wheel, my wrists aglow in gold.

Because my left was adorned with the watch my father made

for my mother, and on the right, was a wide link bracelet once worn

by my Auschwitz surviving, parachute-making aunt.

Because these holidays always hold a mixture of salt and sugar.

Julie Standig’s poetry has appeared in Schuylkill Journal Review, US1 Poets/Del Val, Gyroscope Review and Crone editions, as well as online journals. She has a full collection of poems, The Forsaken Little Black Book and her chapbook, Memsahib Memoir. A lifelong New Yorker she now resides in Bucks County, Pa. with her husband and their Springer Spaniel. If you’d like to learn more about Julie and her work, visit: https://juliestandig.com

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First Snow

by Susan Michele Coronel (New York, NY)

It’s mid-January, nearly a month after Hanukkah 

ends, when I notice the first appearance 

of white flakes in 700 days. I celebrate 

the return of predictable winter joy, when ice 

slicks sidewalks, & fluffy blankets shroud 

windshields, press their weight into branches. 

I scrape my van after a spot of freezing rain, 

loosen snow & ice from door handles 

before temperatures plunge into the teens. 

On Facebook, I skim photos of my daughter’s 

campus, where kids haul cardboard rectangles 

up scenic slopes, clock tower behind, dots 

of city lights below. It’s the same campus where 

a professor said he found the Hamas attack 

in Israel “energizing” and “exhilarating.”

A British friend reports snow’s arrival with

photos on WhatsApp, streetlamps casting

a ghostly glow over parked cars & hedges.

He says he just checked on his sister,

who has poor balance due to cerebral palsy.

On my side of the world, darkness advances.

Trump wins the Iowa caucus without a sneeze.

The night before, I watch a documentary about

a 93-year-old Holocaust survivor visiting

Warsaw with her adult son. She recalls how

Jewish policemen beat ghetto Jews with clubs

to get them onto trains—if successful, they’d

spare their own lives. They wore the same

boots as Nazis, crisp black against the snow.

Outside my window, flake by flake, snow

tapers & stops. A few neighbors continue to

shovel or salt walkways. Maybe a few–

like me–look outside & gape in wonder

at a lavender sky that sheds white sparkles

over our ordinary lives. We are like candles, 

gazing through curtains at the ever present dark.

Susan Michele Coronel lives in New York City. She has received two Pushcart nominations and won the 2023 Massachusetts Poetry Festival First Poem Contest.  Her poems have appeared in publications including Spillway 29, Plainsongs, Redivider, and Fourteen Hills. In 2021 her full-length manuscript was a finalist for Harbor Editions’ Laureate Prize, and in 2023 another version of the manuscript was longlisted for the 42 Miles Press Poetry Award.

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A Yom HaShoah Reflection

by Howard Debs (Palm Beach Gardens, FL)

“How does one mourn for six million people who died? How many candles does one light? How many prayers does one recite? Do we know how to remember the victims, their solitude, their helplessness? They left us without a trace, and we are their trace.” — Elie Weisel

In the mid-80s I was privileged to experience “The Precious Legacy,” an exhibit then touring the United States consisting of a selection of Jewish artifacts from the collection of the Jewish Museum in Prague. (As it happens, Prague is very close to home, my ancestral home, actually. My paternal grandfather came to America from Riga, Latvia in 1886.) 

One of my areas of special poetic interest is ekphrastic poetry, a form which takes its inspiration from pictorial and other artwork. The artifacts in the collection were silent witnesses from the time, and I realized that I could give them a voice, and, in this way, let them speak for themselves through me — a bold but plausible idea. 

I contacted Jakub Hauser, the curator of the vast photographic collection of the Jewish Museum, and presented my idea. I asked if the museum would grant permission for me to select and use a number of archival photographs from the collection for a series of poetic statements about them. The museum agreed.

My intent was to explicate and illustrate the indomitable spirit for good juxtaposed by the inevitable potential for evil — what in Hebrew is called yetzer hatov/yetzer hara, “good inclination”/”evil inclination.”

I chose Terezin as the focus of the work, as the camp has become associated with the spiritual resistance of the Shoah. Thirty-three thousand perished at Terezin. In all, some 140,000 Jews were transferred to Terezin, of which nearly 90,000 were ultimately sent to points further east and to almost certain death. Fifteen thousand children passed through Terezin. Approximately 90 percent of these children perished in death camps.

Here’s one of the poems that I wrote after viewing the collection and with which I began my journey to bear witness:

The Suitcase to Terezin

Josef Ernst is the name on the suitcase.

What can we know from a suitcase?

285 is the number the Nazis assigned to him

for purposes of his transport to Terezin that

day on the train identified as AAw,

and so from lists that were kept

we know he was taken away on the

3rd of August, 1942 from

Horomeritz a quaint Prague village the name

of which appears on the suitcase, his captors

being meticulous about the details of such things

as this and from such records we know Josef Ernst

born 24 June 1900 was liberated from Terezin,

he survived the Holocaust this we know, he had

a life after Terezin and surely now he rests in peace,

we can but hope that he forgave the human race.

For some 30 plus years, I’ve searched for a way to continue bearing witness to the Holocaust, and feel blessed to have written such a poem and to have founded the New Voices Project as a way to help others bear witness, as well.

— 

Howard Debs is the founder of the NewVoicesProject newvoicesproject.org. He received a University of Colorado Poetry Prize at age 19. After spending the past fifty plus years in the field of communications, with recognitions including a Distinguished Achievement Award from the Educational Press Association of America, he resumed his creative pursuits. Finalist and recipient 28th Annual 2015 Anna Davidson Rosenberg Poetry Awards, his essays, fiction, and poetry appear internationally in numerous publications. His photography will be found in select publications, including in Rattle online as “Ekphrastic Challenge” artist and guest editor. His book Gallery: A Collection of Pictures and Words, is the recipient of a 2017 Best Book Award and 2018 Book Excellence Award. His chapbook Political is the winner of the 2021 American Writing Awards in poetry. He is co-editor with Matthew Silverman of New Voices: Contemporary Writers Confronting the Holocaust and is listed in the Poets & Writers Directory. 

As a writer, you’re invited to help the NewVoices Project. Please visit The Goodreads/Amazon Reviews Challenge for more information.

Note: This story is based in part on Howard’s essay, The Poetry of Bearing Witness, which he wrote about creating the New Voices Project for Krista Tippett’s On Being Project. https://onbeing.org/blog/the-poetry-of-bearing-witness/

His poem series, “Terezin: Trilogy Of Names,” was originally published in China Grove Literary Journal, Vol.3, and is partially reprinted here with permission of the author. Name and information are from the database of Terezin Initiative Institute entries for Shoah victims and survivors.

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What I know

By Marilyn Schonfeld-Davenport (Louisville, CO)

I am a first generation American and a second generation Holocaust survivor. 

My mother was born in Korosten, Ukraine. 

My father in the shtetl of Oleszyce, Poland. 

They came to this country in 1950 with my three-year-old sister who was born in a displaced persons camp in Ansbach, Germany.

They were lucky, my mother always said. They were not in concentration camps.

They met during the war on a Russian state-owned farm (Sovkhoz) in Aktyubinsk, Kazakhstan.

I do not know the name of the farm. I do not know how my father ended up there. Only that while in the Russian army, he jumped off a train to escape banishment to Siberia and found himself on the same Sovkhoz. 

They were lucky, my mother always said

They were not tortured. They did not starve.

They did not have to hide underground or in sewers or cellars with rats. 

They did not have to strip down naked and suffer inhuman conditions and humiliating treatment. 

They did not have to forage for food in the forests. 

They did not have to watch their children die.

My parents were lucky. 

Not like their dear survivor friends whose tragic stories I overheard as a child, amidst the shuffling cards and the clicking chips of the poker table. 

But still, their young lives were thwarted by the horrifying rampage of a madman.

They were scared. They were on the run. 

They were separated from their families. 

They scampered to strange places, seeking refuge and safety.

Their fate collided at the Sovkhoz where they fell in love and lived in relative peace. And waited. And wondered, when will it end?

They worked in the fields, repaired small machinery, slept in bunkers and occasionally had a decent meal of more than watered -down soup.

My mother worked in the canteen and snuck my father extra bread and cigarettes.

That’s all I know about their life there.

After the war, they got married and returned to Korosten so my dad could meet his in-laws and my mother could say hello and goodbye to her family. 

My dad set his sights on America. 

The land of promise. The land of opportunity.

She was going with him.

But first he wanted to go back to Poland to see what happened to his family. 

He had no idea if anyone was still alive.

Somewhere, somehow he discovered they all perished in Belzec. 

Except for one sister.

She escaped with the help of a priest and was in a displaced persons camp in Ansbach, Germany. 

And so they went there.

My mother said they walked.

But how? How did he find out about her? How did they walk all that way? 

Who helped them? How long did it take? 

My past is a patchwork of fragmented stories and unanswered questions.

They hang suspended looking for a place to rest, to make me whole.

My father never talked about his past or his childhood.

I try to seam it together through any research I can do, any tidbit I can find. 

A box of papers from the DP camp; sponsor forms, luggage tags, passport pictures, a diploma from ORT that said my father could make a shoe.

But I reach a dead end when it comes to my Polish family. There is so little.

There are only imagined faces of my relatives instead of photos that do not exist. 

Imagined lives in places I cannot fathom.

I never asked enough and they never said enough. 

I do not know enough. 

But I do know this.

I am a first generation American and a second generation Holocaust survivor. 

I am defined by that more than anything.

Marilyn Schonfeld-Davenport has always held the stories of her parents and her ancestors deep inside her, those few that she knows, those fragments that she can piece together. These stories composed the backdrop of a relatively carefree childhood in the suburbs of Chicago, but beneath the surface was the lingering impact of her parents’ trauma: her mother’s anger and fear, her father’s quiet introspection.

Throughout the years, Marilyn has returned to those haunting stories of her youth to try to weave the pieces together and better understand her past. She is currently working on a memoir of sorts, based on her mother’s notebooks of recorded minutes as the secretary of the Trossman Family Club. Uncle Sam Trossman, the patriarch, brought her parents and sister to this country after the war.  She lives in Louisville, Colorado with her husband Mark and dog Wilson. Her two grown sons live in Portland, Oregon and Minneapolis, Minnesota and she misses them every single day. 

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A Grandmother’s Love Story

by Esther Erman (Mountain View, CA)

I was named in memory of my maternal grandmother, Estera. She was named for the biblical Queen Esther, who risked her life to save the Jews of Persia—condemned to genocide in the fifth century BCE. Both women came to critical moments when they faced great risks and had to make life-or-death choices. I often look to both stories, but especially to my grandmother’s, for inspiration.

Grandmother Estera was born and raised in Garbatka-Letnisko, a village in east-central Poland that lies about ninety kilometers southeast of Warsaw. “Letnisko” means it was a summer resort, and visitors remembered the village as having clean mountain air fragrant with the scent of pines. However, Garbatka was not a summer resort for its Jews; they all lived on the wrong side of the tracks year-round.

Estera was born in the 1880s to a poor and pious family. She fell in love with Benjamin, a merchant, and the two young people wanted to marry. But back then, in that part of the world, parents arranged marriages. Benjamin’s parents required his bride to bring a dowry, meager though it probably would have been, to the marriage. Estera’s father asserted that if he had to provide a dowry, his daughter would marry a scholar, a much more prestigious occupation than a merchant.

As was expected of her, Estera obeyed her father and entered into an arranged marriage with the scholar Meyer. Benjamin subsequently married a woman who, evidently, brought a dowry. Were Benjamin’s wife and Meyer aware that they were not their spouses’ first choices? Did people then even expect their marriages to be happy?

Several years passed, during which Estera and Meyer had a son, Moishe, and a daughter, Gella. For reasons now shrouded in mystery, Meyer went to Jerusalem. When he returned to Garbatka, he said the whole family had to leave Poland, which was not a good place for Jews, and make new lives in Jerusalem.

Estera did not share her husband’s concerns about their home country. And she was devoted to her extensive family in Poland. No longer an obedient young girl, she told Meyer to go ahead and establish a home in Jerusalem, and then to send for the family. Meyer went to Jerusalem alone and set up a home. He then tried several times to convince Estera to bring their two children and join him there, but she repeatedly refused.

Finally, he sent her two things and demanded that she choose between them: tickets for travel and the offer of a get (a Jewish divorce, which only the husband had the right to initiate). Many men who emigrated abandoned their families back home and left their wives in the untenable position of being essentially without a husband and yet not able to remarry. Meyer’s offering Estera a get showed him to be a true gentleman.

In an extremely unusual move for a pious woman in her time and place, Estera chose the get. Might part of her motivation have been that Benjamin, her first love, was now a widower? In any case, Estera and Benjamin wed and had two children together—a son, Mendel, born in 1915, and one year after that a daughter, Gittel, who would eventually become my mother.

I hope Benjamin and Estera experienced great joy in their marriage. What they did not have was the gift of much time together: Benjamin soon died, very likely during the 1918 Spanish flu epidemic.

With Benjamin’s death, poverty gripped the family even harder. Estera had a mill for grinding buckwheat, which allowed her to eke out a living through backbreaking work. Gella, Estera’s daughter from her first marriage, earned some money as a seamstress. Close relationships with friends and relatives in Garbatka’s Jewish community helped Estera’s family deal with their difficult lives. In 1933, Moishe, the son from Estera’s first marriage, decided to join his father in Jerusalem. 

– – –

Blitzkrieg. In the month of September 1939, the Nazis crushed Poland. The Jews in Garbatka, just like those all over Poland and in the other defeated places, were torn from their homes, ghettoized, and forced into slave labor—a prelude to genocide.

The Jewish men were quickly murdered or deported. Estera now lived with both her daughters and her granddaughter in Pionki, a ghetto created by the Nazis twenty kilometers west of Garbatka. Deportations from the ghetto became more frequent. In dread that their family members’ names would appear on lists of those to be transported, the women checked each new posting. One day in September 1942, both Estera and Surele, Gella’s eleven-year-old daughter, appeared on the list, supposedly to be relocated to another ghetto for “work reassignment.” Neither Gella nor Gittel was on the list. One could add names, but not remove any. Gella, refusing to be separated from her child, immediately added her name.

Gittel went to put her name on the list also, to go with her mother, sister, and niece, but Estera stopped her. Gittel fought with her mother, arguing, “You all are going. Gella volunteered to go. I want to go with you.”

Estera was adamant in her refusal. “Gella is going to be with her daughter, with Surele.” “But you will be separated from me, your daughter,” Gittel protested. Estera shook her head and put her hand on Gittel’s shoulder. What love it must have taken for Estera to insist, “You are older than Surele and can work—maybe because of that, you will survive.”

As Gittel watched in unbearable loneliness and grief, her mother, sister, and niece—all that remained of her family in Pionki—were crammed into a train filled with frightened people.

The destination, Gittel would later learn, was not a work reassignment. Instead, the journey terminated at Treblinka—its passengers forced directly from the train to gas chambers.

Against the odds, and as my grandmother Estera had hoped, my mother Gittel did survive the war. Her survival entailed separation from her loved ones; years of slave labor, abuse, and starvation; transport via cattle car to Auschwitz; and a winter death march from Auschwitz to Bergen-Belsen. For the next half century, until she died in 2003, my mother shared just the bare bones of the story of her survival. I can only imagine the horrors and how their memories weighed on her.

Following her liberation from Bergen-Belsen in April 1945, my mother met and married my father—also a survivor of ghettos, Auschwitz, and slave labor—in a displaced person’s camp in the British sector of Germany. I was born just eighteen months after their liberation—a testament to my parents’ amazing recovery and resilience. The three of us immigrated to New York in 1947.

Earlier, when the war had broken out, all the members of my mother’s family had agreed that any who survived would contact my grandmother’s older son Moishe, who immigrated to Jerusalem in 1933, as a means of reconnecting. My mother was the only one he ever heard from.

In the summer of 1962, my mother fulfilled a dream: she reunited with her half-brother Moishe in Jerusalem. She also met Moishe’s father and Estera’s first husband, Meyer; he’d never remarried.

Unlike her namesake Queen Esther, my grandmother Estera did not save the Jews. She could not save herself, her daughter Gella, or her  granddaughter Surele. But she did save one person: my mother, Gittel.

I thought of this story on a Friday evening in 2019 as I gazed at the walls of Jerusalem, golden in the setting sun at the start of the Sabbath. I suddenly was overcome with sadness and regret that my grandmother had never been at this place. She had not saved herself by following her first husband there. At the same time, I knew that, had my grandmother not stayed in Poland and married my grandfather, my mother Gittel would not have been born. Choices. If only the decisions motivated by love always brought joy. For my grandmother Estera, the decision not to join her first husband in Jerusalem, for reasons of love and family, doomed her. She suffered the loss of her loved ones and her home, and then perished – all at the behest of a genocidal tyrant.

I am grateful to my grandmother for her sacrifices, and for her insistence that Gittel not go with her on the transport. I am grateful to Gittel, my mother, for surviving. I am grateful to them both, as well as to my father and his survival–for my life, for that of my brother, and for those of the children and grandchildren each of us has.

In 2022, the world shudders to see yet another, tragic chapter of war and loss at the behest of yet another tyrant. I acutely feel my connection with grandmother Estera as, once again, innocent people are forced to make impossible choices. My thoughts and prayers, and the actions within my grasp, go out to the heroes and the victims—those who die, as well as the scarred and traumatized survivors.

The words ring a bit hollow these days, but I repeat them with fervent hope that we can one day make them come true: “Never again!”

—-

The daughter of two survivors of the Shoah from Poland, Esther Erman was born in Germany. A naturalized citizen, she early developed a passion for language. After receiving her BA and MA in French from different divisions of Rutgers University, she returned there for her doctorate in language education. She wrote her dissertation about Yiddish, her first language, which she had abandoned at age five. A multi-published author, Esther now lives in the San Francisco Bay Area with her husband Lee. To learn more about her work, visit: EstherErman.com.

This story originally appeared in Art in the Time of Unbearable Crisis and was reprinted with permission of the author, who, like Rebecca, the heroine of her novel, Rebecca of Salerno: a Novel of Rogue Crusaders, a Jewish Female Physician, and a Murder, was a refugee. 

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How Mrs Bentley’s History Formed Me

by Megan Vered (San Rafael, CA)

The shop, narrow as a stick of Doublemint gum, was owned by Anna Bentley and her husband Oscar, originally from Bratislava, Slovakia. Their last name had once been Buchinger, but in 1939, after the Nazi invasion, they fled to England where they changed their name and opened a corset shop. Mrs. Bentley had been a corsetière in Vienna before marrying Oscar, helping women curve in all the right places. Being up close and personal with women was her sweet spot. In 1951, she brought her old-world skills across the ocean when she and her husband emigrated to Berkeley. They opened their store just as I was coming of age, ripe fruit for the picking. Mrs. Bentley had a home operation where she and her team of workers, which included her daughter and friends, dyed fabrics and garments in every shade of the rainbow. Tie-dye was all the rage. Until then, I’d been stuck with the ho-hum underwear selection at JC Penny’s; Bentley’s took the experience of shopping for lingerie to a glitzy new level. 

“You must fall into it, dahlink,” Mrs. Bentley commanded in a thick central European accent. She had swished open the dressing room curtain without asking permission, and now stood directly behind me, her teapot frame swaddled in too-tight clothing. There she was in the mirror, tiny teeth square as Scrabble tiles and the faint hint of a mustache on her upper lip. Her hands cupped my budding breasts. “Lean over and fall into it.” She urged me forward, peppermint breath hot on my neck. 

Once I righted myself, Mrs. Bentley’s sure palms smoothed the bottom of the barely discernible cups. She adjusted the straps with an efficient tug. “There. Much better.” She stood back and admired her handiwork, lips forming a confident knot. I couldn’t imagine that my breasts were anywhere near as glorious as those of the sophisticated, shapely girls who shopped there. I did my best, in my lavender lace, to adopt a 28 AA sense of cool. My body was still under construction, but in the dimly lit dressing room, I could almost imagine a day when I would have meaningful curves. 

So caught up in the insecurity of my own reflection, I failed to see the tragedy in Mrs. Bentley’s eyes as she shaped and shifted my budding bosom. Eighty-five percent of the Slovakian Jews were murdered by the Germans, which included Anna and Oscar Bentley’s parents and close relatives, although I understand that a handful of them made it to Palestine. I never thought to probe into Mrs. Bentley’s past or that of any other older Jew in my community. If my mother was aware of Anna Bentley’s back story, she never said a word. Even though we were expected to watch devastating black and white films in Sunday school, there was a collective hush when it came to acknowledging those who had brushed shoulders with the Holocaust. It would be years before I would realize that people I saw every day at temple, the grocery store, the pharmacy, had fled Europe, lost family, or had a number tattooed on their arm. 

Perhaps by surrounding themselves with color the Bentley’s washed away the heartbreak of history. Perhaps by tending to young girls like me on the brink of bloom they were able to forget, if only for one moment. Perhaps it brought a sense of repair to usher me and my friends into womanhood from the inside out, helping us become safe, secure, well-supported. Mrs. Bentley, whose dark wool skirts, modest blouses, and practical pumps read more school marm than sex goddess, brought a sense of daring identity into our young lives at a time when our knees wobbled with self-doubt. 

Mrs. Bentley intimidated me with her weighty touch and stern eye, but at the same time she offered me a delicious opportunity to explore the boundaries of my femininity, an opportunity to break free from my mother’s secret, suffocating life. The endless hooks of her long-line bra, the wiggling to squeeze into the girdle, the painstaking unfurling of sheer stockings that clipped into garters. My teenage lingerie drawer was stacked with excitement, unlike my mother’s monochromatic drawer.

I lost track of Mrs. Bentley once I graduated from high school and moved away, but to this day, when my high school girlfriends and I get together someone invariably shimmies her bosom and cries, “You must fall into it dahlink!” We all remember the dozens of bras that dangled from Mrs. Bentley’s right wrist like colorful bangles as she bustled around the tiny store. She was always ready to size you up and had all the tools for a quick alteration. A worn, yellow measuring tape hung from her neck and a red pin cushion hugged her left wrist. Pins poked out from between her teeth like miniature pick-up sticks. We all remember the terror of being topless in her dressing room and the feel of her strict palms against our budding chests. And yet, in today’s faceless world of on-line and chain store shopping, there is no comparison to the personal touch we received as girls. 

Anna Bentley died in 2009 at the age of 96, having outlived her husband by thirty-five years. I was just one of many giddy girls who visited her shop, one of many self-obsessed teenagers with no regard for her past. It is only now as I explore the contours of her life that I see a woman who saved herself and us by turning her sorrow into bursts of vibrant color. 

Megan Vered is an essayist and literary hostess. Her essays and interviews have been published in Kveller, The Rumpus, the Maine Review, the Los Angeles Review of Books, and the Writer’s Chronicle, among others. Her essay Requiem for a Lost Organ was long listed for the Disquiet 2022 Literary Prize and she was a finalist for the Bellingham Review’s 2021 Annie Dillard Award for Creative Nonfiction. She holds an MFA from Vermont College of Fine Arts. Megan lives in Marin County, where she leads local and international writing workshops and serves on the board of the UC Berkeley Library and Heyday Books. Her memoir, A Dance to Remember, Confessions of a Medical Maid of Honor, is currently under review for publication.  

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