Bird’s Eye: No revisionism here, but a look at three very different ways the Holocaust has been cited in the past weeks. In the Guardian, there is a long and fascinating piece about Claude Lanzmann, who made the 9½ hour film “Shoah”. It is an essential read. In Israel, Haaretz newspaper attacks the misuse of Holocaust imagery to demonize political opponents, correctly observing that it cannot be both a unique horror in history, and a one-size-fits-all analogy. And we have a review of Shalom Auslander’s new book,Hope: A Tragedy, which is getting a lot of buzz. If you missed “Death Camp Blues” his powerful Moth podcast about his visit to Auschwitz, it’s also highly recommended.
* Claude Lanzmann: The Man Who Stood Witness For The World The Observer
Lanzmann is a witness of his time. He is one of the few people still living who can testify at close range to the epic events by which the second half of the 20th century is defined and measured.
During the second world war, he was a teenage guerrilla in the French resistance. In its aftermath, he was among the first western writers to probe communist East Germany, the USSR, Chairman Mao’s China and even North Korea, where he fell in love. He lived and worked among that Left Bank, leftwing existentialist avant-garde around his close friend Sartre, and was for many years the lover, travelling companion and confidant of De Beauvoir. He accompanied fighters of the Algerian revolution in desert redoubts under bombardment by the French air force, befriended both its leaders and General de Gaulle, only to be tear-gassed on the streets of the Latin Quarter during the événements of May 1968. He “embedded” himself (as we would say today) with the Israeli armed forces as deeply as is possible without actually joining the IDF, or Tsahal, as he calls them, by their Hebrew name.
But most famously of all, Lanzmann researched, directed and conducted the searing interviews for what is arguably the greatest film of all time, and certainly the most ambitious: the nine-and-a-half hour – “it could have been much longer”, he says – Shoah, which, more than any archive project, history book or attempt on film, remains the definitive and inimitable record for all time of the most appalling catastrophe in history.
*Israeli Politicians, Left And Right, Must Lay Holocaust To Rest Haaretz (Thanks David!)
When the Shoah is invoked by Benjamin Netanyahu to make the claim that “It’s 1938 and Iran is Germany,” the victims of the Shoah are forgotten, not remembered.
Peter Beinart, the American left-leaning Jewish and Zionist journalist, recently lambasted Netanyahu – and other elements of the Israeli right – for instrumentalizing the Shoah for blatant political purposes. This is a familiar accusation. What exposes its cynicism is its inherent contradiction: One cannot claim at one and the same time that the Shoah occupies a singular place in the history of the “crimes and horrors of humanity,” and yet use it as a one-size-fits-all analogy, whenever politically convenient (Ahmadinejad, however dangerous and appalling, is not Hitler ). The same tendency to use the Shoah as a political analogy to scare and condemn can be found in many political persuasions, not all of them on the right. But there is more: In incessantly invoking the Shoah for political purposes of the moment, as is often done in Israel, we are stirring the victims of the Shoah from the quiet of their death, turning them into phantoms and specters, and in effect ordering them to haunt the living, with no rest.
What is a phantom? A phantom is a dead person who haunts us because she did not get proper burial, and has been conjured from the dead to serve the needs of the living. Its spectral presence, caught between the realms of the dead and the living, makes it scary. Phantoms are very good instruments of fear because they are the dead who never go away.
* Hope: A Tragedy by Shalom Auslander reviewed by Naomi Alderman (who’s she?) The Guardian
Jews watch Holocaust films differently: we’re looking for advice. When should those schmucks have left the country? What do you do if you have to hide? How do you survive in a concentration camp? It constantly surprises my non-Jewish friends that I don’t feel, as they do, that this event is in the past. That I wonder if they’d hide me if the economy went really bad and people started voting for Nick Griffin. My non-Jewish friends are shocked when they suggest that I could move to (cheap, artsy) Berlin and I say “No, can’t. Too many ghosts of dead Jews.” The thing might be over for you, but it’s still alive for us.
In Shalom Auslander’s funny and acerbic new novel, Hope: A Tragedy, the Holocaust is still alive in the most real way possible. His hero, Kugel (a Dickensian name – kugel is a bland, puddingy Jewish potato dish), an ineffectual worrier with a troubled, overbearing mother, moves his wife and son into a new house only to find the elderly Anne Frank living in the attic.
Is she the real Anne Frank? Yes, it becomes clear, she’s not an apparition, she’s the real woman, grown old hiding in attics. When she tried to tell the world she was still alive, the publisher of her diary – 32m copies sold and counting, as Hope repeatedly reminds us – told her to stay dead. Frank herself is now hideous, deformed – as you would be. “They were survivors,” says Auslander elsewhere in the novel of superficially adorable chipmunks Kugel sees on his walks in the wood, “and survival wasn’t pretty.”


