Terezin

Must teach about Holocaust

An item from the Nov. 10, 1938, newspaper in Helen Waldstein Wilkes’ mother’s hometown, Cham, Bavaria. It reads: “In Brief. Jews Taken into Protective Custody. As was the case everywhere in Germany, news of the death of the German Councilor von Rath in Paris unleashed a storm of bitterness and fury against the cowardly Jewboys who are now threatening the lives of Germans abroad because they can no longer unleash their terror and hatred within the Reich. Since, by the Grace of God, we no longer have any Jewish shops in Cham, anti-Jewish action did not take place as it did in so many other German cities. However, for their own safety, those Jews still living here had to be taken into custody yesterday morning.” (Translation by Waldstein Wilkes.)

As we have sat waiting to hear who will be president of the land that was once the beacon of hope for so many, we have asked ourselves, “What can I do? Are there meaningful avenues for action?”

Election day Nov. 3, Kristallnacht Nov. 9 and Remembrance Day Nov. 11 form a cluster. For Jews who became refugees or who lost family in the Holocaust and for all their descendants, Nov. 9 has particular resonance. Peter Gay was there. Here’s how he describes it:

“Synagogues were severely damaged or totally burnt out, sacred scrolls desecrated with the peculiar elation and ingenuity that the plunderers brought to their work. Businesses were destroyed, private houses and apartments were reduced to piles of rubble, with furniture, pictures, clothing and kitchen equipment thrown around so that they were barely recognizable. There was some looting…. But for the majority, the thrill lay in destruction for its own sake.

“The world watched, disapproved, and did almost nothing. In the United States, the public’s attention was still focusing on the midterm congressional elections of November 8, and the press was busy assessing the results.” (From Gay’s My German Question: Growing Up in Nazi Berlin, Yale University Press, 1998.)

For me, the parallels to today send shivers down my spine. The world must not be allowed to forget the depths to which humans can sink.

Awareness of the Holocaust is shrinking. In the United States, a 2018 survey showed that 66% of millennials could not identify what Auschwitz was. A recent survey revealed that about a third of 7,000 European respondents across seven countries knew “just a little or nothing at all” about the Holocaust.

Knowing about the Holocaust can provide a necessary understanding of how an entire population was bullied and manipulated by demagogues before succumbing to hate and fear-mongering. It can also serve as a blueprint for recognizing the dangers of demonization and incitement and help guard human rights and strengthen core democratic values.

Instead of endlessly fretting about social isolation and the threat of COVID-19, I’ve been seeking ways to make the gift of my days here on earth matter. I, a woman who calls herself “accidentally alive,” a woman who left her first home by horse and buggy, now count technology as among the miracles of my life. Recently, from out of the blue, the wife of a second cousin in New York, whom I’d met only once many years ago, decided to gather the extended family (all that’s left, thanks to Hitler and his efficient helpers) via Zoom. Welcoming me to this gathering of the mishpocha was a man in Israel claiming that his great-great-grandparent and mine had been siblings, and that he had read my book Letters from the Lost in connection with his volunteer work at a museum there. The museum used to be a kibbutz, founded by survivors from Theresienstadt, the concentration camp where both of my grandmothers perished and where most of my family suffered before being sent to their final destination, Auschwitz. Perhaps to distance itself from the German and to place upon it the stamp of renewal that Israel became for these lost souls, the kibbutz was named Beit Terezin.

Together with David, this fourth cousin in Israel, I am building a pathway for keeping alive that which we forget at our peril. Please, if you can, go to jgive.com and search for “Letters from Arnold.”

Using artwork and graphics contributed by those early survivors in Beit Terezin, alongside the words of my beloved Uncle Arnold, who spent 17 months in Theresienstadt before enduring the hellfires of Auschwitz, we hope to create a book that will find a home in every Holocaust museum in the world. If finances permit, we will use technology to bring the contents to life in new ways so that those who cannot visit a Holocaust museum in person nonetheless can receive our reminder that it must not happen again. Never Again.

I urge you to visit our website. And if you’d like to do an additional mitzvah, please forward the link to contacts near and far whose family members may once have lived through the hell of Theresienstadt – or worse.

Born in a country that no longer exists at a time hopefully never to be repeated, Helen Waldstein Wilkes describes herself as “accidentally alive” because she, too, was marked for eradication. Now an energized octogenarian with a richly rewarding life, she is author of two award-winning books, The Aging of Aquarius, an uplifting book that encourages people to live their passion by striving to effect change for the better, and Letters from the Lost (also available in German and Spanish translation), a moving memoir of how a box of letters from prewar and postwar Europe changed everything.

Autograph book resurfaces

Susi and Mænni Ruben, Copenhagen, 1960s. Mænni Ruben’s autograph book, compiled in Theresienstadt, is the focus of a new online exhibit launched by the Victoria Shoah Project. (photo from Victoria Shoah Project)

The Victoria Shoah Project has launched a virtual exhibit of an autograph book compiled by Mænni Ruben, a Danish violinist and graphic artist held prisoner at Terezin (Theresienstadt) concentration camp outside of Prague.

The 1945 Theresienstadt Autograph Book Exhibit features panels and the 40-page book itself, which is replete with signatures, sketches and aphorisms from Ruben’s friends and acquaintances who were also incarcerated at Terezin.

The book records the closing period of the war as survivors were being liberated. It is a story not only of the horrors of Nazism, but of long-lasting friends, and the music and art that united them during dreadful times.

Ruben died in 1976 in Copenhagen. Though he never lived in or visited Canada, the book remained with his widow, Susi, who remarried after his death and settled in Victoria. Upon her passing, in 2018, the book came into the hands of Rabbi Harry Brechner of Victoria’s Congregation Emanu-El. He subsequently showed it to member Janna Ginsberg Bleviss, who became the coordinator of the exhibit project.

“When the rabbi showed the book to me last year, I could see right away that it was special and should go to a museum. It is in remarkable condition for being 75 years old and is a tremendous addition to Holocaust studies,” Ginsberg Bleviss said.

“I was fascinated by the book – who were these people and what happened to them? Reading the pages filled with optimistic greetings, illustrations and pieces of music was like finding a hidden treasure, waiting to be opened. I wanted to discover who these people were and hear their stories,” she added.

“This virtual launch [which took place Aug. 20] is meant to honour both Mænni and Susi, and the memory of those whose lives intersected in space and time in the Theresienstadt camp. None of the artists, musicians, composers or rabbis who wrote in the book are alive, but we can sense their lives through their traces here,” said Dr. Richard Kool, a member of the Victoria Shoah Project.

A number of panels show the powerful drawings of artist Hilda Zadikow, whose husband, sculptor Arnold Zadikow, died at Theresienstadt. One depicts the coat of arms of Terezin under a Magen David made of barbed wire. Another features three sad, grey sketches of the camp itself. In a third, there is a happier scene of colourful opera figures.

Her inscription in the autograph book reads, “Your old friend Hilda Zadikow wishes you all the best and delight in beauty.”

A poignant message comes from Rabbi Leo Baeck, an intellectual and leader of the German Jewish community and the international Reform movement, who wrote: “What you forget and what you don’t forget, that is what decides the course of your life will take.”

Pianist Alice Sommer Herz, the subject of the 2007 book A Garden of Eden in Hell and the 2013 Oscar-winning documentary The Lady in Number 6, was another prisoner at the camp. Sommer Herz, who died at age 110 in 2014, wrote in Ruben’s book: “In memory of music at Theresienstadt and in strong hopes of a better future.”

And a touching note comes from Miriam Pardies, someone Ruben seems to have known only in passing: “We know each other only from having greeted each other in a friendly way, but that too is a good memory,” she writes in the book.

“There is a huge educational value to these pieces for students learning about the Holocaust, or for researchers who want to continue exploring the stories of these most interesting people during an important time at the end of the Second World War,” remarked Brechner.

Ruben and his family were sent to Theresienstadt in 1943. A place where the Nazis kept prominent Jews, the camp housed musicians, intellectuals, artists, religious leaders and hundreds of children. In 1944, the inmates performed a concert for German visitors and the visiting International Red Cross – the performers were forced to act as though life at the camp was normal.

Losing his father at the camp, Ruben returned home after the war. A few years later, he met his wife. They married and both played in the Copenhagen Youth Orchestra – she on cello and he on violin. Mænni Ruben also worked as a graphic designer and Susi Ruben as a fashion designer; they were together for 24 years.

After her husband died, Susi Ruben’s company sent her to Israel, where she met Dr. Avi Deston. They married in 1978 and went to South Africa for 13 years, where Deston taught physics at the University of Transkei. On his retirement, they came to Victoria, in 1992.

The autograph book will be donated to the Canadian Museum for Human Rights in Winnipeg for their Holocaust gallery. To view the virtual exhibit, go to terezinautographbook1945.ca.

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

Holocaust memorial music

Musical memorials to the Holocaust tread on sensitive ground. On one hand, they perform a crucial function for humanity’s collective memory. On the other hand, there is significant risk of belittling the topic in the name of artistic expression. Two composers who have successfully navigated the risky waters of this endeavor to produce musically significant works with dignity and veneration are Charles Davidson and Sheila Silver. Released by the Milken Archive of Jewish Music earlier this year, Out of the Whirlwind: Musical Reflections of the Holocaust gives both works their rightful place in the archive’s pantheon of music of the American Jewish experience (milkenarchive.org/volumes/view/19).

Davidson’s I Never Saw Another Butterfly cantata is based on the 1960s publication (of the same name) of poems written by children interned at Terezin, a ruse camp set up by the Nazis to throw off the scent of those who suspected the mass murder of Jews under Hitler’s reign. Though it was simply a waypoint en route to the Auschwitz death camp, Terezin depicted a scenario where prisoners enjoyed relative freedom and produced significant artistic output.

Davidson’s tribute to the child poets comprises nine poem-settings for children’s choir and piano, performed here by the San Francisco Girls Chorus. From touching beauty to foreboding, despair and all points in between, his composition gives unique expression to the range of emotions contained in the poems while conveying its own identity as a work of art. I Never Saw Another Butterfly has been performed more than 2,500 times, including in 1991 at Terezin, in the presence of former Czech president Václav Havel.

Silver’s string trio To the Spirit Unconquered was inspired by the writings of Italian poet and Holocaust survivor Primo Levi. Silver uses a variety of techniques to convey different aspects of the concentration camp experience described in Levi’s writings: fear, through dark string tremolos and crashing, dissonant piano chords; memory, through floating piano lines and swooning strings; barbarism, through quick, syncopated rhythms, staccato stabs, and angular melodies; transcendence, through the soaring melodies of the final movement. In a 1998 interview with the archive (milkenarchive.org/videos/view/112), Silver claimed To the Spirit Unconquered as her most successful piece, stating that it had been widely performed and won over audiences skeptical of modern music. In her own words, it is “about the ability of the human spirit to transcend the most devastating of circumstances, to survive and to bear witness.”

Though both of these works can be appreciated on their artistic merits alone, their grounding in the maxim to never forget imbues them with an inescapable urgency. They command listeners of all faiths and backgrounds to approach them with undivided attention.