Charlotte Schallié

This year’s book award winners

The fourth edition of the Western Canada Jewish Book Awards, presented by the Cherie Smith JCC Jewish Book Festival, culminated in a May 24 event at the Jewish Community Centre of Greater Vancouver at which the winners in six categories – fiction, non-fiction, memoir/biography, children and youth, poetry, and Holocaust writing – were announced.

Winning the Nancy Richler Memorial Prize for fiction was Simon Choa-Johnston for House of Daughters, a stand-alone sequel to The House of Wives. Based on the author’s family, this multi-generational family saga opens when Emanuel Belilios, a wealthy Jewish opium oligarch, suddenly leaves Hong Kong, and his junior-wife, Pearl, blames Semah, the senior-wife. Pearl kicks Semah out of the mansion where the polyamorous trio had lived and shuns everyone, including her daughter. This is a story of passions and regrets, wealth and survival, set in Eurasian Hong Kong’s high society.

In the non-fiction category, the Pinsky Givon Family Prize went to Alan Twigg, editor of Gidal: The Unusual Friendship of Yosef Wosk and Tim Gidal, a selection of letters between Israeli Tim Gidal, a pioneer in photojournalism, and Vancouver scholar and art collector Yosef Wosk. In the late 1920s, with his handheld Leica, Gidal was able to travel in interwar Europe, capturing rare images of Polish Jews prior to the Holocaust. Wosk first encountered Gidal’s work in a magazine in 1991 – the photo “Night of the Kabbalist” captivated him. Wosk was determined to meet the photographer and eventually did. The two became close and the letters – selected by Twigg from hundreds the friends exchanged over two decades – both memorialize Gidal as an artist, scholar, historian of photography and “hero among the Jewish people,” and also capture the essence of Gidal and Wosk’s friendship.

The Cindy Roadburg Memorial Prize for memoir/biography was given to Marsha Lederman for Kiss the Red Stairs: The Holocaust, Once Removed. In it, Lederman delves into her parents’ Holocaust stories in the wake of her own divorce, investigating how trauma migrates through generations. At the age of 5, Lederman asked her mother why she didn’t have any grandparents, and her mother told her the truth: the Holocaust. Decades later, her parents having died and now a mother herself, Lederman began to wonder how much history had shaped her life and started her journey into the past, to tell her family’s stories of loss and resilience.

Boy from Buchenwald by Robbie Waisman (with Susan McClelland) took the Diamond Foundation Prize for children and youth writing. In 1945, Robbie Waisman, then Romek Wajsman, had just been liberated from Buchenwald, a concentration camp where more than 60,000 people were killed. He was starving, tortured and had no idea if his family was alive. Along with 472 other boys, these teens were dubbed “the Buchenwald Boys.” They were angry at the world for their abuse, and turned to violence: stealing, fighting and struggling for power. Few thought they would ever be able to lead functional lives again, but everything changed for Romek and the other boys when Albert Einstein and Rabbi Herschel Schacter brought them to a home for rehabilitation.

The Betty Averbach Foundation Prize for poetry went to Tom Wayman’s Watching a Man Break a Dog’s Back: Poems for a Dark Time, which explores the question of how to live in a natural landscape that offers beauty while being consumed by industry, and in an economy that offers material benefits while denying dignity, meaning and a voice to many in order to satisfy the outsized appetites of a few. A cri de coeur from a poet who has long celebrated the voices of working people, the collection also grapples with why “anyone, in this era so profoundly lacking in grace, might want to make poems – or any kind of art.”

Rounding out the awards was the Kahn Family Foundation Prize for Holocaust writing, which was given to But I Live: Three Stories of Child Survivors of the Holocaust by Charlotte Schallié (editor) and illustrators Miriam Libicki, Barbara Yelin and Gilad Seliktar. But I Live is a co-creation of the novelists and four Holocaust survivors: David Schaffer, brothers Nico and Rolf Kamp, and Emmie Arbel. Schaffer and his family survived in Romania due to their refusal to obey Nazi collaborators; in the Netherlands, the Kamps were hidden by the Dutch resistance in 13 different places; and, through the story of Arbel, who survived Ravensbrück and Bergen-Belsen concentration camps, we see the lifelong trauma inflicted by the Holocaust. The book includes historical essays, a postscript from the artists and words of the survivors.

Each category in the 2023 Western Canada Jewish Book Awards was assessed by five jurors, in different configurations, from the following professionals: Linda Bonder, a retired librarian; Susanna Egan, professor emeritus of literature in English from the University of British Columbia; Dave Margoshes, who writes fiction and poetry on a farm west of Saskatoon; Norman Ravvin, a writer, teacher and critic living in Montreal; Rhea Tregebov, an author of fiction, poetry and children’s picture books, and a retired professor in the UBC Creative Writing Program; Elisabeth Kushner, a librarian and writer living in Vancouver; Karen Corrin, former head librarian of the Isaac Waldman Jewish Public Library at the JCC; Nicole Nozick, former executive director of the Vancouver Writers Fest and former director of the JCC Jewish Book Festival; and Anita Brown, who is working with the Waldman Library.

Daniella Givon, chair of the awards committee, introduced the May 24 event, sharing a bit about the awards and thanking all the sponsors and participants for the high calibre and diversity of the submissions. The winning authors then said a few words, and Dana Camil Hewitt, director of the JCC Jewish Book Festival, closed the proceedings with more thank yous, and an invitation for everyone to purchase and enjoy the books.

– Courtesy Cherie Smith JCC Jewish Book Festival

Survivors share their stories

Charlotte Schallié, a University of Victoria scholar and Holocaust historian who is leading the graphic novel project, with survivor David Schaffer and graphic artist Miriam Libicki, left, at Schaffer’s home in Vancouver in January 2020. (photo by Mike Morash)

A University of Victoria project, first announced in January 2020, came to fruition this spring with the release of But I Live, a graphic novel that tells the stories of four Holocaust survivors.

But I Live involved an international team of researchers, students and institutional partners from three continents, and brought together four survivors and three graphic artists to create an autobiographic series recounting one of the darkest periods in human history. The survivors who told their stories were Emmie Arbel (Israel), Nico and Rolf Kamp (Holland) and David Schaffer (Canada). Their stories were transformed into art by Barbara Yelin (Germany), Gilad Seliktar (Israel) and Miriam Libicki (Canada). The project was edited and organized by Charlotte Schallié, chair of the department of Germanic Slavic studies at UVic and head of Narrative Art and Visual Storytelling in Holocaust and Human Rights Education at the university.

image - But I Live: Three Stories of Child Survivors of the Holocaust book cover — But I Live: Three Stories of Child Survivors of the Holocaust was published by New Jewish Press (2022).

“Many people in North America have learned about the history of the Holocaust through survivor stories that are repeated in popular culture, which largely focus on survival in the concentration camps or experiences of hiding in Nazi-occupied territory,” said Schallié. “The three stories in But I Live complicate these mainstream narratives by exploring complex topics such as the burden of memory, the need to testify, the ripple effects of trauma and the impact of the Holocaust on descendants of survivors, for example. As historical documents, they are also important for centring the survivors’ experiences and enabling them to tell their own stories.”

Though the gravity of the crimes committed during the Holocaust is well documented, the majority of visual records were largely produced by the Nazis and their collaborators. “These are important historical sources,” said Schallié, “but a sole focus on documentation produced by perpetrators ignores the value of survivors as living knowledge-keepers.”

An objective of the project, therefore, was to turn the perspective over to the survivors. “A survivor-centred approach to gathering testimony about the Holocaust honours the integrity and humanity of the person’s lived experience, while respecting their right to tell their own story,” Schallié said.

Another consideration in the project was time – the majority of Holocaust survivors alive today were young children during the war and are now in their 80s and 90s. The importance of learning from these knowledge-keepers is increasingly vital.

“If we don’t engage them in our research now, their expertise and experience will soon be lost,” Schallié stressed.

There is, in her view, a moral obligation and duty to collect and preserve survivor testimonies. “Each voice that was marked to be silenced by the perpetrators of these atrocities matters greatly and needs to be heard and acknowledged,” she said.

An additional goal of But I Live is to interest young readers in Canada, where high schools are not mandated to include the study of the Holocaust in their curricula.

“We hope that our visual storytelling work will appeal to youths and young adult readers, and elicit within them a deep sense of empathy that leads them to think critically about the historical past and present,” said Schaille.

“Holocaust survivor stories that are presented as heroic narratives, where the storyline progresses from dark to light – or from a site of danger to one of safety – place a heavy burden and responsibility on survivors, whose life stories and memories are unlikely to conform to that model, and simplifies the reality of their lived experiences. But I Live holds space for fragmented memories, difficult emotions and the afterlife of trauma. In doing so, it complicates mainstream tropes, clichés and iconographic imagery that is sometimes misappropriated or exploited in popular culture,” she explained.

image - A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer — A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer. (image by Miriam Libicki)

The work at UVic expands on previous projects, such as the book On Listening to Holocaust Survivors: Beyond Testimony by Henry Greenspan of the University of Michigan, which focuses on survivor accounts while being mindful of the trauma such memories can evoke.

“Eliciting experiences and memories of extreme human suffering from the survivors necessitated a research process and practice that privileged their safety by minimizing the risk of re-traumatization, managing potential triggers and providing sustained support for all participating project partners,” Schallié said. “This approach ensured that we – the stewards of survivor memories – honoured what we felt was our obligation and duty to amplify the voices of the Holocaust survivors.”

But I Live was released by New Jewish Press, a division of University of Toronto Press. A German edition, Aber ich lebe, was published by C.H. Beck in July and has received positive coverage in the German broadsheets Der Tagesspiegel and Die Zeit. In November, the book received a German LUCHS-Preis for literature.

On Oct. 23, But I Live won the 2022 Canadian Jewish Literary Award for biography, presented at York University in Toronto. At the ceremony, the project was lauded for exemplifying “the power of the non-fiction graphic novel to convey the experience and aftereffects of the Shoah.… The historical essays, an illustrated postscript from the artists and personal words from each of the survivors offer a profound meditation on the past and its reach into the present.”

But I Live will be featured at the Cherie Smith JCC Jewish Book Festival here in Vancouver on Feb. 12.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Illustrating Holocaust stories

Gilad Seliktar, left, and Rolf Kamp in Amsterdam. They are drawing the last hiding place of Nico and Rolf Kamp in Achterveld, which was liberated in April 1945 by Canadian troops. (photo from UVic)

A University of Victoria professor is orchestrating an international project that links Holocaust survivors with professional illustrators to create a series of graphic novels, thereby bringing the stories of the Shoah to new generations.

Charlotte Schallié, a Holocaust historian and the current chair of UVic’s department of Germanic and Slavic studies, is leading the initiative, which connects four survivors living in the Netherlands, Israel and Canada with accomplished graphic novelists from three continents.

The project, called Narrative Art and Visual Storytelling in Holocaust and Human Rights Education, is supported by the Social Sciences and Humanities Research Council of Canada. Its aim is to teach about racism, antisemitism, human rights and social justice while shedding more light on one of the darkest times in human history.

UVic is partnering with several organizations in the project, including the Canadian Museum for Human Rights in Winnipeg, the Anne Frank House in Amsterdam and the Vancouver Holocaust Education Centre.

Many historians of the genre have argued that the rise of graphic novels as a serious medium of expression is largely due to the commercial success of Art Spiegelman’s Maus in 1986. Maus, the first graphic novel to win a Pulitzer Prize, depicts recollections of Spiegelman’s father, a Shoah survivor, with Jews portrayed as mice, Germans as cats and Poles as pigs.

Schallié told the Independent that the idea for the project came from observing the interest her 13-year-old son has in graphic novels and the appeal Maus has had among her students, who have continually selected it as one of the most poignant and memorable materials in her classes.

“Though a graphic novel, Maus could hardly be accused of treating the events of the Holocaust frivolously,” she said from her office on the campus of the University of Victoria.

As most survivors are now octogenarians and nonagenarians, the passage of time creates an ever more compelling need to tell their stories as soon as possible.

image - Barbara Yelin’s illustration of Emmie Arbel, now — Barbara Yelin’s illustration of Emmie Arbel, now. *(image from UVic)*

image - Barbara Yelin’s illustration of Emmie Arbel, then — Barbara Yelin’s illustration of Emmie Arbel, then. *(image from UVic)*

“Given the advanced age of survivors, the project takes on an immediate urgency,” said Schallié. “And what makes their participation especially meaningful is that each of them continues to be a social justice activist well into their 80s and 90s. They are role models for the integration of learning about the Shoah and broader questions of human rights protection.”

The visual nature of a graphic novel allows it to bring in elements or depict scenes that are not possible with an exclusively written work, according to Schallié. A person may describe an event in writing but leave out aspects of a scene that might add more to the sense of what it was like to be there at the time.

One of the survivors participating in the project, David Schaffer, 89, lives in Vancouver. He is paired with American-Israeli comic artist Miriam Libicki, who is also based in the city. The two met in person in early January so that Libicki could learn the story of how he survived the Holocaust as a child in Romania.

In 1941, Schaffer was forcibly sent with his family to Transnistria, on the border of present-day Moldova and Ukraine, by cattle car. There, they suffered starvation and were subjected to intolerable and inhumane living conditions.

image - One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer — One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer. *(image from UVic)*

“The most important thing is to share the story with the general population so they realize what happened and to avoid it happening again. It’s very simple. History has a habit of repeating itself,” said Schaffer.

Libicki, who was the Vancouver Public Library’s Writer in Residence in 2017, is the creator of jobnik!, a series of graphic comics about a summer she spent in the Israeli military. An Emily Carr University of Art + Design graduate, she also published a collection of essays on what is means to be Jewish, Toward a Hot Jew. (See jewishindependent.ca/drawing-on-identity-judaism.)

“The more stories, the better. The wiser we can be as people, the more informed we can be as citizens and the more empathy we can have for each other,” Libicki said. “Graphic novels are not just a document in the archives; they’re something people will be drawn to reading.”

image - Gilad Seliktar drew this sketch of Rolf Kamp — Gilad Seliktar drew this sketch of Rolf Kamp. *(image from UVic)*

The other illustrators are Barbara Yelin, a graphic artist living in Germany, and Gilad Seliktar, who is based in Israel. Yelin is the recipient of a number of prizes for her work, including the Max & Moritz Prize for best German-language comic artist in 2016. Seliktar has illustrated dozens of books – from publications for children to adult graphic novels – and his drawings frequently appear in leading Israeli newspapers and magazines.

Brothers Nico and Rolf Kamp in Amsterdam and Emmie Arbel in Kiryat Tiv’on, Israel, are the other three survivors who are providing their accounts of the Holocaust.

The books will be available digitally in 2022. A hard copy version of each book is planned, as well. When finished, the graphic novels will be accompanied by teachers guides and instructional material designed for schools in Canada, Germany, Israel, the Netherlands, the United Kingdom and the United States.

UVic hopes to match a larger number of survivors with professional illustrators in the future. To learn more, contact Schallié at [email protected]. You can also visit the project’s website at holocaustgraphicnovels.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.