Books from the hell of Auschwitz - The Province


"While we are still alive, it is our duty to speak, of course, but to others, who had not yet been born, so that they know how far they can go, "he warned, in 1986, about the danger that the horror of the Holocaust could be repeated, Cousin Levi, whose experience tried to exorcise in 'If this is a Man'.

He committed suicide, or so it is believed, a year later, become one of the indisputable referents of the concentration literature along with other survivors such as Peace Nobel Laureate Elie Wiesel ('Night Trilogy') or Literature Nobel Imre Kertész ('Without Destiny').

Like them, many have been the victims that since the liberation of the camps -This Monday marks the 75th anniversary of Auschwitz- have offered their testimony in books like the recent 'Auschwitz last stop', biographical novel written by Dr. Eddy de Wind while still being a prisoner (Espasa / Colum) or the reissued'Auschwitz librarian'(Planet), respectful novelization of the protagonist's life, Dita Kraus, based on interviews with her by journalist Antonio Iturbe (she has half a million copies sold in more than 20 countries).

They have compiled the voices of deported renowned historians, such as Laurence Rees, author of 'Auschwitz The Nazis and the final solution', in 'The Holocaust', and Nikolaus Wachsmann in the monumental study'KL History of Nazi concentration camps'. His memory has also been recovered since the comic, since Art Spiegelman reflected his father's ordeal at Auschwitz in 'Maus', a masterpiece that earned him the 1992 Pulitzer Prize.

A "fashion" questioned

The voracious publishing market, oblivious to some criticism of the "fashion" to use the name Auschwitz as a claim In book titles, as Arturo Pérez-Reverte justified a year ago on Twitter, he does not seem to need ephemeris to continue feeding what has become a genre in itself: the works - whether they are newspapers, testimonials, essays or novels - linked to Nazism.

Prisoners in the barracks of Auschwitz-Birkenau after liberation, in 1945.

The proliferation of titles often leads to question the rigor, especially with regard to fiction. This same month, the Auschwitz Memorial was going to the forefront to discourage reading, due to historical inaccuracies and inaccuracies, of bestselling fictions such as 'The boy with the striped pajamas' (Salamander), by John Boyne, and 'The Tattooist of Auschwitz' (Planet), by Heather Morris.

However, coinciding with the ephemeris of 75 years of liberation, highlights news with female voices, whose stories are detailed in this link: one is that of the French writer Charlotte Delbo, of whom Books of the Asteroid in Spanish and Club Editor in Catalan publish 'None of us will return'. She survived Auschwitz, unlike other writers like Etty Hillesum, the poet Gertrud Kolmar or Irène Némirovsky ('French Suite'), whose cases detailed Mercedes Monmany in 'You know I'll be back'. Another testimony is 'Return to Birkenau' (Seix Barral), who signs, at 94, Ginette Kolinka. Another is collective: the stories that Heather Dune Macadam rescues in 'The 999 Women of Auschwitz' (Roca / Comanegra), a group of young Jews deported in 1942.

The crematorium of Auschwitz.

Also new, and unusual, is the essay of Antonella Ottai, research on Jewish cabaret comedians and artists who continued to act, almost as a form of resilience, in ghettos and death camps, 'Laughter will set you free', published by Gedisa, who also reissues' Max and Helen' novel by the famous Cazanazi Simon Wiesenthal based on a real love story in the Holocaust.

A more thoughtful approach is that of the Israeli Yishai Sarid - who will participate this Wednesday at the CCCB event 'Auschwitz and after'-, in 'El monstre de la memòria' (Stealth / Club Editor), a new novel where the protagonist, an Israeli historian who guides tourists and teenagers in the fields, asks about the lessons and heritage of the Shoah.

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