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From Krakow, With Love |
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| Polish travel tips from an American secularist | ||
by Patrick J. Sauer, February 28, 2008 |
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Hot Dogs: at auschwitzI was stunned to learn that, thanks in large part to the efforts of those who been imprisoned there, the camps were opened to the public a mere two years after the liberation. Two years. So, let’s recap: In a poor, desolate country, physically destroyed by World War II, people who were left with nothing after surviving the Nazi nightmare got Auschwitz up and running by 1947 to bear witness to the atrocities they had just experienced. I think you know where I’m going with this…I realize it’s not apples-to-apples, but it sure makes the seven years of Ground Zero squabbles seem awfully small.
Ostoya Palace Hotel: where the maids are hotWord on the Euro street is that Krakow is the hotspot for stag parties and that the town has a thriving sex trade. I didn’t notice an excess of strip bars or sex shops, but then again, we spent most of our time in the Medieval castles-and-churches section. After all, it’s an anniversary trip, and I’m old. What I can attest to, is that Krakow has an incredibly high number of beautiful, beautiful, beautiful women, including our maid at the Ostoya Palace hotel. Fellas, the dollar still owns the zloty, so you may want to take that into consideration before booking Vegas this summer.
Oldsmobil: krakow's american-themed car barI lied. Salt mines won’t do the trick. Might I suggest the “Wodka Sampler” at the U.S. car-themed bar, Oldsmobil. I don’t know what happened to the “e,” but the six shots are smooth and clean. And the owner does a great impression of an American that didn’t sound like any American I’ve ever met. Much needed jocularity, though. Na zdrowie!
So, to the kid from the Oregon private school on the World War II trip--the one in the Jewish bookstore in Kazimierz who insisted on hectoring the young sales girl with variations of, “When the Nazis came, why didn’t they just pretend they weren’t Jews?” You know who you are. The clerk patiently responded about the importance of religion, the poor uneducated populace, the powerlessness… She was being sincere. You were being a dick. That ain’t helping our cause. From one former punk teen to another, you’re better than that.
And she was hot. You sniveling little fuck.
From Cracovia with love,
Patrick J. Sauer
Related: The Connoisseur's Guide to Internet Anti-Semitism
| SS Soldiers Have Feelings Too! | |
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by Monica Osborne, September 19, 2007
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I have always been a fan of Hannah Arendt.
I have not always, however, been a fan of the "banality of evil" argument. I get it--we are all capable of evil. I agree with that. But when applied to the "logic" of the Holocaust, I think the argument becomes problematic and potentially even transgressive. By saying that anyone could have been capable of the atrocities committed by Nazis and their sympathizers during World War II, we also, whether we intend it or not, minimize the extent to which each individual is responsible for his or her own behavior. We cut the perpetrators a bit of slack by implicitly suggesting that they only did what anyone else would've been equally capable of.
My point: okay, yeah, maybe it could've been anybody, but it wasn't. Each person who contributed in any way to the destruction of Jews and others during the Holocaust is individually responsible. The "it could have been anybody" argument is dangerous because it lessens the degree to which we are all responsible for our actions. And this goes for any genocide or act of violence--not just the Holocaust.
Just Another Beautiful Day: In Auschwitz.
But then . . . there are times when I want to re-think this position.
Today there's a piece in the NYT about a letter received by a young archivist at the United States Holocaust Memorial Museum. The letter, written by a former US Army Intelligence officer, contained photographs of Auschwitz he had found 60 years ago in Germany.
It's not uncommon for someone to send old photos from the Holocaust to the museum, but these particular pictures depict something that is not often seen.
. . . a scrapbook of sorts of the lives of Auschwitz's senior SS officers that was maintained by Karl Hocker, the adjutant to the camp commandant. Rather than showing the men performing their death camp duties, the photos depicted, among other things, a horde of SS men singing cheerily to the accompaniment of an accordianist, Hocker lighting the camp's Christmas tree, a cadre of young SS women frolicking and officers relaxing, some with tunics shed, for a smoking break. . . . The album also contains photos of Josef Mengele, the camp doctor notorious for participating in the selections of arriving prisoners and cruel medical experiments. These are the first authenticated pictures of Mengele at Auschwitz . . .
Museum curators have avoided describing the album as something like "monsters at play" or "killers at their leisure." Ms. Cohen said the photos were instructive in that they showed the murderers were, in some sense, people who also behaved as ordinary human beings. "In their self-image, they were good men, good comrades, even civilized," she said.
I still don't like the "banality of evil" argument, but needless to say, these kinds of pictures give it a lot more credibility.
I highly suggest watching the slideshow here (turn your speakers on for the audio) -- it's only around two minutes long.
| Primo Levi's Need to Write About Auschwitz | |
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by Avi Kramer, July 9, 2007
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"In Levi's writing, nothing is superfluous and everything is essential."—Saul Bellow

Of all the Holocaust memoirs painting chilling, indelible pictures of SS guards and their cruelty, Primo Levi’s Survival in Auschwitz looks instead at his fellow inmates. He sees them, writes Mona Simpson in her Atlantic review, in “various stages of degeneration.” (Levi, along with Gabriel Garcia Marquez and Günter Grass, was Simpson’s hero when she was a Berkeley freshman in 1978, and her review pays homage to Levi’s affect on a precocious young English major/budding novelist.)
In Survival, Levi sees a paralyzed child, his scrawny forearm barely wide enough to hold the number inked into it. “He bears witness through these words of mine.” The author describes a literally gut-wrenching scene along the train trip from Russia, when the people in his overpacked boxcar were forced to relieve themselves in the open:
for them, evacuating in public was painful or even impossible: a trauma for which civilization does not prepare us, a deep wound inflicted on human dignity, an aggression which is obscene and ominous, but also the sign of deliberate and gratuitous viciousness.
And then, Levi renders the determination of those people to construct a latrine in the corner of the car with a chamber pot, a blanket and string.
After Auschwitz, he returned to his home in Turin, Italy. He wrote in many genres, painted, married, fathered children, and practiced chemistry. His new collection of seventeen stories is A Tranquil Star, all originally published in Italian between 1949 and 1986. They show magical realism leaning so far into realism itself that fantasy and reality become one. As Anita Desai writes in The New York Review of Books, “These stories, brief as they are, span the two worlds and indeed break down and even deny that a barrier exists between them.”
Levi once said that he felt a psychological need to write about Auschwitz. After the war, his fiction and characters took many forms, but his was always a fiction written by a witness to horror. Even if the subject is light years away, you can hear it in his prose. A passage from the title story, “A Tranquil Star,” reads,
If this story must be written, we must have the courage to eliminate all adjectives that tend to excite wonder: they would achieve the opposite effect, of impoverishing the narrative. For a discussion of stars our language is inadequate and seems laughable, as if someone were trying to plow with a feather. It’s a language that was born with us, suitable for describing objects more or less as large and as long-lasting as we are; it has our dimensions, it’s human.