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Read through the most famous quotes by topic #holocaust
Cinnamon Girl" wasn't right for this day, for this time, for what was about to happen. If he were to have music, he thought, maybe Shostakovich, a few measures from the Lyric Waltz in Jazz Suite Number 2. Something sweet, yet pensive, with a taste of tragedy; Qatar was an intellectual, and he knew his music. ↗
What people still do not like to admit is that there were two crimes in the form of one. Just as the destruction of Jewry was the necessary condition for the rise and expansion of Nazism, so the ethnic cleansing of Germans was a precondition for the Stalinization of Poland. I first noticed this point when reading an essay by the late Ernest Gellner, who at the end of the war had warned Eastern Europeans that collective punishment of Germans would put them under Stalin's tutelage indefinitely. They would always feel the guilty need for an ally against potential German revenge. ↗
#eastern-european #ernest-gellner #ethnic-cleansing #genocide #germans
Public truth telling is a form of recovery, especially when combined with social action. Sharing traumatic experiences with others enables victims to reconstruct repressed memory, mourn loss, and master helplessness, which is trauma's essential insult. And, by facilitating reconnection to ordinary life, the public testimony helps survivors restore basic trust in a just world and overcome feelings of isolation. But the talking cure is predicated on the existence of a community willing to bear witness. 'Recovery can take place only within the context of relationships,' write Judith Herman. 'It cannot occur in isolation. ↗
Once my father told me: When a Jew prays, he is asking God a question that has no end. Darkness fell. Rain fell. I never asked: What question? And now it's too late. Because I lost you, Tateh. One day, in the spring of 1938, on a rainy day that gave way to a break in the clouds, I lost you. You'd gone out to collect specimens for a theory you were hatching about rainfall, instinct, and butterflies. And then you were gone. We found you lying under a tree, your face splashed with mud. We knew you were free then, unbound by disappointing results. And we buried you in the cemetery where your father was buried, and his father, under the shade of the chestnut tree. Three years later, I lost Mameh. The last time I saw her she was wearing her yellow apron. She was stuffing things in a suitcase, the house was a wreck. She told me to go into the woods. She'd packed me food, and told me to wear my coat, even though it was July. "Go," she said. I was too old to listen, but like a child I listened. She told me she'd follow the next day. We chose a spot we both knew in the woods. The giant walnut tree you used to like, Tateh, because you said it had human qualities. I didn't bother to say goodbye. I chose to believe what was easier. I waited. But. She never came. Since then I've lived with the guilt of understanding too late that she thought she would have been a burden to me. I lost Fitzy. He was studying in Vilna, Tateh—someone who knew someone told me he'd last been seen on a train. I lost Sari and Hanna to the dogs. I lost Herschel to the rain. I lost Josef to a crack in time. I lost the sound of laughter. I lost a pair of shoes, I'd taken them off to sleep, the shoes Herschel gave me, and when I woke they were gone, I walked barefoot for days and then I broke down and stole someone else's. I lost the only woman I ever wanted to love. I lost years. I lost books. I lost the house where I was born. And I lost Isaac. So who is to say that somewhere along the way, without my knowing it, I didn't also lose my mind? ↗
#food
It has often been said that Christian Poles did nothing to help Jews during the war. Don't believe it. There were indeed those who turned their backs on the hounded, hungry people who came to them in desperation; there were others who did their little bit to help where they realistically could, often not without some risk to themselves; and there were those who were ready to risk their lives and to share their last meal with a fugitive. I don't believe that in these matters the Polish people in the last war were different from any others caught in a similar stranglehold. And what is more, the rescued have no right to assume that they would automatically become rescuers if roles were reversed. We simply don't know, any of us, how we would react until put to the rest. And the not-knowing troubles me. You see, I don't believe as many people do that courage is a characteristic like optimism or generosity; I think of it more as a mood, like laughter or sadness, a child of the moment, which might come to any of us in certain circumstances - and desert us in others. ↗
Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer. ↗
Does it matter if they were from Kielce or Brno or Grodno or Brody or Lvov or Turin or Berlin? Or that the silverware or one linen tablecloth or the chipped enamel pot—the one with the red stripe, handed down by a mother to her daughter—were later used by a neighbour or someone they never knew? Or if one went first or last; or whether they were separated getting on the train or off the train; or whether they were taken from Athens or Amsterdam or Radom, from Paris or Bordeaux, Rome or Trieste, from Parczew or Bialystok or Salonika. Whether they were ripped from their dining-room tables or hospital beds or from the forest? Whether wedding rings were pried off their fingers or fillings from their mouths? None of that obsessed me; but—were they silent or did they speak? Were their eyes open or closed? I couldn't turn my anguish from the precise moment of death. I was focused on that historical split second: the tableau of the haunting trinity—perpetrator, victim, witness. But at what moment does wood become stone, peat become coal, limestone become marble? The gradual instant. ↗
That there is in this world neither brains, nor goodness, nor good sense, but only brute force. Bloodshed. Starvation. Death. That there was not the slightest hope not even a glimmer of hope, of justice being done. It would never happen. No one would ever do it. The world was just one big Babi Yar. And there two great forces had come up against each other and were striking against each other like hammer and anvil, and the wretched people were in between, with no way out; each individual wanted only to live and not be maltreated, to have something to eat, and yet they howled and screamed and in their fear they were grabbing at each other’s throats, while I, little blob of watery jelly, was sitting in the midst of this dark world. Why? What for? Who had done it all? There was nothing, after all, to hope for! Winter. Night. ↗
