Table of Contents
OTHER BOOKS IN THE REUBEN/RIFKIN SERIES
Title Page
Dedication
WON’T YOU SEE
THE JOURNEY TO POLAND - (ESSAY)
PART I: A RETROSPECTIVE NOTE FROM JERUSALEM, 1997
PART II: LETTER FROM THE REGIONS OF DELUSION
LA PROMENADE, TRIPTYCH
PART I
PART II
PART III
BETWEEN TWO AND FOUR
ELIJAH’S SABBATH DAYS
EVENING RIDE
JET LAG
THE END OF THE PYTHIA
THE DANCE OF THE THINKER
RITES OF SPRING
HOLD ON TO THE SUN
FACING EVIL: THOUGHTS ON A VISIT TO AUSCHWITZ - (ESSAY, 2006)
SELICHOT IN KRAKOW: MIGRATIONS OF A MELODY - (ESSAY, 2007)
A CONVERSATION BETWEEN MICHAL GOVRIN AND JUDITH G. MILLER
On coming to writing ...
On style, influences, and technique . . .
On writing and politics ...
On the work of translation . . .
On exile, the limits of framing, eroticism, and allegory . . .
Acknowledgements
CREDITS
We hope you enjoyed this book.
Copyright Page
OTHER BOOKS IN THE REUBEN/RIFKIN SERIES
Arguing with the Storm: Stories by Yiddish Women Writers
edited by Rhea Tregbov
Dearest Anne: A Tale of Impossible Love
by Judith Katzir
Dream Homes: From Cairo to Katrina, an Exile’s Journey
by Joyce Zonana
Shalom India Housing Society
by Esther David
If a Tree Falls: A Family’s Quest to Hear and Be Heard
by Jennifer Rosner
The Reuben/Rifkin Jewish Women Writers Series
A joint project of the Hadassah-Brandeis Institute
and the Feminist Press
Series editors: Elaine Reuben, Shulamit Reinharz, Gloria Jacobs
The Reuben/Rifkin Jewish Women Writers Series, established in 2006 by Elaine Reuben, honors her parents, Albert G. and Sara I. Reuben. It remembers her grandparents, Susie Green and Harry Reuben, Bessie Goldberg and David Rifkin, known to their parents by Yiddish names, and recalls family on several continents, many of whose names and particular stories are now lost. Literary works in this series, embodying and connecting varieties of Jewish experiences, will speak for them, as well, in the years to come.
Founded in 1997, the Hadassah-Brandeis Institute (HBI), whose generous grants also sponsor this series, develops fresh ways of thinking about Jews and gender worldwide by producing and promoting scholarly research and artistic projects. Brandeis professors Shulamit Reinharz and Sylvia Barack Fishman are the founding director and codirector, respectively, of HBI.
For Haim
The book before us, which gathers together fiction, poetry, and essays, is a work of art of the highest quality.The theme ranging across the entire volume is the indelible mark left by the Second World War and the Holocaust.
Michal Govrin was born in Israel, but her mother’s family, including her first husband and their son, were murdered in the Holocaust. Surviving, she transmitted to her daughter not only the horror of the times, but also the strength and courage needed in saving lives during the war, and in its aftermath.
This work joins the few serious books that try through artistic means to face the unspeakable.
—Aharon Appelfeld
WON’T YOU SEE
Won’t you see that I am carried to you on a sea of death
Not on the Styx—that noble river in a marble inferno
No Charon poles the raft
On my cheeks still lie the curls of the brother
In whose death I live
His breath is the wind in my hair
Won’t you hear, in our throats’ echoes, the silence
The cry that does not relent, does not release—
Of the heads
From whose number a hand was left
To knead our lives
Won’t you see
Lining up behind our faces
The trains that have carried us
On a journey ordained from then and there
Their whistle is our canopy
A pillar of smoke leading us
To the far ends of the wind
THE JOURNEY TO POLAND
(ESSAY)
PART I: A RETROSPECTIVE NOTE FROM JERUSALEM, 1997
In late October 1975, when I was in my early twenties and completing my doctorate in Paris, I went to Poland. An almost impossible journey then for a young woman, alone, with an Israeli passport, at the time when there were no diplomatic relations between the Eastern Bloc and Israel. It was only because of a French-Jewish friend, who turned me into a “representative of France” at the International Theater Festival in Wroclaw [Breslau], that I received a special visa for a week.
The night before the trip, when everything was ready, I called my parents in Tel Aviv and told them. I asked my shocked mother for the exact address of her family home in Krakow. Only later that winter, when I visited Israel, did I understand what profound emotion took hold of my mother’s few surviving friends and relatives from Krakow when they heard of the trip.
A week later I returned to Paris. For twenty-four hours, I closed myself in my student apartment in the Latin Quarter, far from the Parisian street scenes, and feverishly wrote to my parents. A letter of more than twenty pages. First thoughts, a summary of the rapid notes taken on the trip.The words groped for another language, for a different level of discourse.
That year, as every year, a commemoration for the Jewish community of Krakow was held in the auditorium of my high school in Tel Aviv. News of my trip and of my letter reached the members of the community, and they wanted to read it aloud at the commemoration. I agreed, and after it was commandeered from the family circle, I submitted it for publication to the literary supplement of the newspaper, Davar, with the title, “Letter from The Regions of Delusion,” the expression “Regions of Delusion” borrowed from the title of a parable attributed to the Ba’al Shem Tov.1 Aside from some peripheral changes of style, that text appears in the following pages.
Traveling to Poland in 75 was not part of the social phenomenon it is today. The group definition of “second-generation Holocaust survivors” hadn’t yet been coined. You had to find out everything by yourself: how to plan the trip, how to feel, and how to talk about it. The letter to my parents began a long process of formulation. Even the choice of parents as the addressees of an intimate discourse was not the norm then.
Today, that trip seems like a geological rift that changed my emotional and intellectual landscape, and placed its seal on my writing. Yet the “journey to Poland” didn’t begin in 75, but in early childhood, in Tel Aviv in the 1950s. Distant shocks preceded the rift.
The “journey to Poland” began in that journey “to there”—the journey every child makes to the regions before she was born, to the unknown past of her parents, to the secret of her birth. My journey to Mother’s world began long before I “understood” who my mother, Regina-Rina Poser-Laub-Govrin, was, before I “knew” that she survived the “Holocaust,” that she once had another husband, that I had a half-brother. But there was the other “knowledge,” that knowledge of pre-knowledge and of pre-language, transmitted in the thousand languages that connect a child and her parents without words. A knowledge that lay like a dark cloud on the horizon. Terrifying and seductive.
For years the journey proceeded on a double track. One outside the home and one inside it. And there was an almost complete separa
tion between the two. As if everything that was said outside had nothing to do with Mother. Outside, incomprehensible, violent stories about the “Holocaust” were forged upon the little girl’s consciousness. In school assemblies, in lessons for Holocaust Memorial Day, and later on in lessons of “Annals of the Jewish People,” which were taught separately from “history” classes, and described events that happened in “another, Jewish time and place,” where King David and small-town Jews strolled among the goats and railroad cars of the ghetto. Even the Eichmann trial, on the radio in school and at home, was an event you had to listen to, but it had no real relation to Mother. (And even if things were said about it then at home, I succeeded in repressing them from consciousness.)
At home, there were bright stories about Krakow, the boulevards, the Hebrew high school, the cook, the maids, about skiing and summer holidays in the mountains, in Zakopane, and sometimes on Friday evening, Mother and I would dance a Krakowiak2 on the big rug in the living room. And there was Mother’s compulsive forced-labor house cleaning, and her periods of rage and despair when I didn’t straighten up my room (what I called “prophecies of rage” with self-defensive cunning), there was the everlasting, frightened struggle to make me eat, and there was the disconnected silence that enveloped her when she didn’t get out of bed on Yom Kippur. And there was the photo album “from there” at the bottom of Mother’s lingerie drawer, with unfamiliar images, and also pictures of a boy, Marek. And stories about him, joyful, a baby in a cradle on the balcony, a beautiful child on the boulevard. And a tender memory of the goggle-moggle3 with sugar he loved so much (and only years later did I understand the terrifying circumstances of that). And there were the weekly get-togethers at Aunt Tonka’s house (who was never introduced as the widow of Mother’s older brother who was murdered), get-togethers so different from the humorous, confident gatherings of Father’s family, who immigrated as pioneers in the 1920s and held leadership positions in the establishment of the state. At night, in Aunt Tonka’s modest apartment, I was the only little girl—“a blonde, she looks like a shiksa”—in the middle of the Polish conversation of “friends from there.” And every year there were also the visits of Schindler, when you could go all dressed up with Mother’s cousin to greet him at the Dan Hotel. And once, when Mother and I were coming back from downtown on bus number 22, Mother stopped next to the driver and blurted a short sentence at him for no reason.The driver, a gray-haired man in a jacket, was silent and turned his head away. “He was a ka-po,”4 she said when we got off, pronouncing the pair of incomprehensible syllables gravely. All of that was part of the cloud that darkened the horizon, yes, but had nothing to do with what was mentioned at school or on the radio.
Poland and Krakow weren’t “real” places either, no more than King Solomon’s Temple, for instance. I remember how stunned I was when I went with Mother to the film King Matthew the First, based on the children’s story by Janusz Korszak which I had read in Hebrew. In the film, the children spoke Polish! And it didn’t sound like the language of the friends at Aunt Tonka’s house. “Nice Polish,” Mother explained, “of Poles.” Poles?They apparently do exist somewhere.
Yet, a few events did form a first bridge between the outside and inside. One day, in a used bookstore in south Tel Aviv, Mother bought an album of black and white photos of Krakow; “Because the photos are beautiful,” she emphasized, “they have artistic value.” And indeed, the sights of the renaissance city in four seasons flowed before my eyes. A beautiful, tranquil city, full of green trees and towers. Jews? No, there were no Jews in that album, maybe only a few alleys “on the way to Kazimierz.”
At the age of ten, my parents sent me for private lessons in English, because “it’s important to know languages.” And thus I came to Mrs. Spiro, a gentle woman from London, married to Doctor Spiro, Mother’s classmate from the Hebrew high school in Krakow. One day, when the lesson was over, Mrs. Spiro accompanied me to the edge of the yard of their house on King Solomon Street. I recall the sidewalk with big paving stones as she talked with me. Maybe I had complained before about Mother’s strict demands, or maybe she started talking on her own.
“Of course, you know what your mother went through, she was in the Holocaust. You have to understand her, the tensions she has sometimes,” she said to me directly.
That was an earthquake. A double one.The understanding that Mother was in “the Holocaust,” that awful thing they talk about in school assemblies, with the “six million.” And that I, a ten-year-old girl, had to or even could “understand Mother.” That is, to leave the symbiosis of mother and daughter constituting one expanded body, to cut myself off from my child’s view, and see Mother as a separate person, with her own fate and reasons for moods that didn’t depend only on me, or on my certain guilt. I remember how, at that moment, facing the spotted paving stones, I understood both those things all at once. Like a blinding blow.
Then came high school in Tel Aviv. Since both the principal and the assistant principal were graduates of the Hebrew High School in Krakow, their former classmates in that high school, including my mother, sent their children to study there. At that school, influenced by the principal and his assistant, both of them historians, there was an intense awareness of the Jewish past and life in the Diaspora—a rare dimension in the Zionist-Israeli landscape of Diaspora denial—and Gideon Hausner, the prosecutor in the Eichmann trial, initiated a “club to immortalize the Jewish community of Krakow.” A group of students met with members of the Krakow community, who taught them the history of the city and the Jewish community before the destruction. The club also heard testimony from the Holocaust, with a special (exclusive?) emphasis on the activities of the Jewish underground. The women’s revolt in the Gestapo prison, led by “Justina,”5 was also dramatized and performed for the community members on the annual memorial day. (“Holocaust celebrations,” as the memorials were ironically called by members of the drama club.)
I was a member of the “club to immortalize,” and I also played a Polish cook in the performance of the history of the uprising. But in fact, a partition still remained between me and the others, a zone of silence so dense that, to this day, I don’t know which of the children of the Krakow community members were children of Holocaust survivors and which were children of parents who emigrated to Palestine before the war. If there were any children of survivors, no bond was formed between us. We didn’t talk about it. We remained isolated, caged in the sealed biographies of our parents.
There were other bridges too, almost subterranean ones, which, as far as I recall, were not formulated explicitly. The bond with the literature teacher, the poet, Itamar Yaoz-Kest, who survived as a child with his mother in Bergen-Belsen. In high school, there was only his influence on my literary development and a sense of closeness, a sort of secret look between “others.” Only later did I read his poems of “the double root” about his split childhood “there” and in Israel, and his story describing, as he put it, a little girl who looked like me, the daughter of survivors. And there was the love affair with the boy in my class, whose delicate smile on his drooping lower lip looked like the “different” smile of the literature teacher. His father, the lawyer, submitted reparations claims to Germany in those days—close enough to the seductive-dangerous realm. My complicated relations with that boy paralleled the shock of discovery of Kafka; and along with the tempest of feelings of fifteen-year-olds, that forbidden, denied, inflamed relation had a pungent mixture of eros and sadism, a tenderness and an attraction to death, and above all, metaphysical dimensions that pierced the abyss of dark feelings which somehow was also part of “there.”
In my childhood, when Mother was an omnipotent entity within the house, I couldn’t “understand” her. Later, when she became the authority to rebel against, the enzyme necessary to cut the fruit off from the branch erected a dam of alienation and enmity between us; I couldn’t identify with her, with her humanity. There had to be a real separation. I had to live by myse
lf. To go through the trials alone. To listen slowly to what was concealed.
(An amazing example of the layers of memory and forgetting was revealed to me as I wrote The Name. The only detail I borrowed in the novel from things I had heard from Mother was a story of the heroism of a woman who succeeded in escaping from Auschwitz-Birkenau, and when she was caught and taken to the Appelplatz, the roll call area, she managed to commit suicide. I also borrowed the admiring tone in which Mother spoke of the event—only later did I discover how it had served her as a model. I created a biographical-fictional character, a virtuoso pianist, and invented a name for her, Mala, which I turned into Amalia, the name of the heroine.Years later, as I was finishing the book, I came across a written description of the event in Birkenau and discovered that the name of the woman was the same as the name I had “invented,” Mala—Mala Zimetbaum.)
Then came the move to Europe, to Paris. To study for the doctorate and to write literature intensively. I went to the Paris of culture, of Rilke, of Proust, of Edith Piaf. But in 1972, soon after I arrived, the film The Sorrow and the Pity6 by Marcel Ophuls was released. When the screening ended in the cinema on the Champs-Elysées, I emerged into a different Paris, into a place where that mythical war had gone on. I understood that here, on Rue de Rivoli, beneath my garret room, German tanks had passed (ever since then they began to inhabit my dreams); I understood that the description of the French as a nation of bold underground fighters and rescuers of Jews—a notion I had grown up with in the years of the military pact between Israel and De Gaulle’s France—was very far from reality. The clear, comforting borders between good and bad were shattered for me, and so were the simple moral judgments mobilized for ideologies. Here, far from a post-Six-Day-War-Israel, secure in her power, far from the official versions of Holocaust and heroism, a different time was in the streets, a time not completely cut off from the war years. Here, for the first time I experienced the sense of “the other.” As a Jew, as an Israeli.Wary of revealing my identity at the university that served as a center of Fatah7 activities, trembling in the Metro once as I read the Israeli newspaper, Ma’ariv, when someone called it to my attention: “Mademoiselle, somebody spat on your jacket.”
Hold on to the Sun Page 1
