Chava Rosenfarb Quotes

I was entranced by the kind of magic that went into the act of transposing words from one language into another.

What happened after this - that is, after the amazing flowering of Yiddish culture and literature between the two world wars - was a tragedy of unimaginable proportions, when the world experienced the trauma of the Second World War and the Jews of Europe faced mass extinction. Sadly, this too is the history of Yiddish - and it is my own personal history as well. Because my own fate as a writer was so closely dependent on the fate of that beautiful, piquant, tragic language, Yiddish.

I do not see myself primarily as a translator, although I have in fact, with the help of my daughter, translated much of my own work. Nevertheless, when I reflect more deeply on this subject, I realize that my entire life has been a process of translation. I have been translated from my birthplace in Europe to my present home in North America. I have written three novels, one collection of short stories, four books of poetry, three plays, many essays and travelogues. Yet, without translation, all of these would have been relegated to the graveyard of those few libraries that still contain books in my language, or to the bottom drawer of my own desk. This is because the language in which I write, Yiddish, has fewer and fewer readers and writers. Translation represents to me my literary future. It makes me think that not everything I write will be totally lost, even if things do inevitably get lost in translation.

It seems to me that there is an inherent difference between being a Yiddish writer and being a writer of any other language. The difference is both psychological and linguistic. The Yiddish language, written with the Hebrew letters of the Bible, automatically places every Yiddish text within the context of Jewish history, of Jewish national and religious experience, and so endows it with a near-sacred quality. The mystical power that Jews ascribe to the Hebrew letters seems to influence the texture of even the most secular Yiddish works, endowing them with an additional lustre. As a result, the relationship between the Yiddish writer and her public is imbued with a sense of spiritual and intellectual connection.

What intrigues me in human nature is precisely the thing that defies gender and sexual difference, heredity and upbringing. If my character is male, then I must try to immerse myself in his masculinity in order to inhabit him completely. The same is true if my character is female...I believe that in a successful literary work the writer rises above her inner censor and transcends the confines of gender; that in such a work it makes little difference if the female characters are depicted by a male or a female writer. In such a work the writer, whatever his or her actual gender, is a feminist. In such a work the female writer is faithful to her own essence and the male writer sees his female characters as autonomous beings, similar to himself and yet different. Such a work would make us realize that we all have an equal share in our common humanity. That, at least, would be my ideal.

We Jews have every right to be proud of our Yiddish literature, which flowered in such a short time, and which explored both the heights and the depths of Jewish thought and feeling. But the depiction of Jewish women is, with some exceptions, not among our literature's finest accomplishments...some male Yiddish prose writers did faithfully and realistically describe the situation of women in the late-nineteenth century. They depicted their female characters with great tenderness and understanding. But as a general rule, they avoided looking deeper into the more complicated qualities that make up a woman's individuality. The male writer sympathized with the woman's plight; he idealized her, sang her praises, wondered at her, but he knew nothing about who she really was. He did not illuminate her from within.

modern Yiddish literature came to maturity with the writing of the three classical writers, Mendele Mokher Sforim, Sholem Aleichem, and I. L. Peretz, whose influence served as both guide and catalyst for the generation of Yiddish writers who came after them. But all the members of this generation were male. It was only in the early-twentieth century that Yiddish women writers began to be published.

I am not a card-carrying feminist, but the intellectual baggage that I bring to the act of writing is certainly coloured by my femininity.

I have often been asked what message I, a survivor of the Lodz ghetto, of Auschwitz, Sasel, and Bergen-Belsen, want to transmit to those who have not been there and to their children? The question confounds me. From which bag of highfalutin, well-sounding, hollow phrases do I take my response? What response exactly will satisfy my interrogators' expectations? Would not any answer tarnish the memory of those who did not survive the bondage of the darkest Egypt that ever existed? The only answer I am capable of giving is to echo the passage in the Passover haggadah, which says that, in every generation, each individual must regard him or herself as having personally come out of Egypt. I would say that, in every generation, each individual must regard him or herself as having personally survived the Holocaust, and each individual should transmit this awareness to the sons and daughters of the next generation.

I have many times tried to escape the subject of the Holocaust in my writing, but I have never succeeded. No matter which road I take, it invariably leads me back to the destination that I most want to avoid. My personal life and my literary life have forever been divided into two eras, the era before and the era after the Holocaust, and only from this perspective am I capable of viewing both my own life and human history.

We hoped that after the storm the world would be cleansed of hatred, and that there would be brotherhood between the peoples of the world. This hope helped us live - and it helped us die. How naive we were and how bitter has been our awakening! How shocking the reality that we have come to face without any illusions! Finally, it has become clear to us that the world has learned nothing from our tragedy. After the horrendous cataclysm, everything reverted to business as usual, as if nothing had happened. The world has not stopped its wars. The clank of knives being sharpened can still be heard, if not in one place then in another. There have even emerged crackpot historians who claim that the Holocaust is a hoax, a figment of the Jewish imagination. Anti-Semitism has not disappeared from the face of the earth. Instead, it seems to be flowering anew. Its poisonous scent has not failed to reach our nostrils, even on the North American continent. And yet, we have no right to draw the curtains and separate ourselves from our surroundings. We must not turn our backs on the world, echoing the words of the heartbroken Yiddish poet Yakov Glatstein, who exclaimed "A gute nakht dir, velt!" ("Good-night to you, World!") Like it or not, our fate is tied up with that of the rest of humanity. We must constantly hold the truths of the Holocaust in front of its eyes, like a mirror, so that the world might recognize itself in the reflection, might recognize the degree of baseness to which human-kind may sink, but also the moral heights to which it may rise when it does not permit itself to be robbed of spiritual integrity. We mourn the annihilation of an entire Jewish world, a world with its own traditions, its own way of life, its own creativity and ideals - our world. Viavku ha'am, and the people wept. But in our collective sorrow, there is firmly planted the affirmation of our existence.

I wrote The Tree of Life in the hope that I might bring the next generations a little closer to the awareness of what it means to have survived the Holocaust. I bore witness in the belief that there is no future for mankind if it refuses to face itself in the mirror of the Holocaust, disturbing and horrifying though that mirror might be. It is a mirror that tells us that man is not the most beautiful and noble of God's creatures, but the most tragic. It tells us that man's potential for aggression and evil, for hating others and for self-hatred, for committing suicide through acts of homicide and genocide, may lead to his own eradication from the face of the earth. Moreover, if we forget the Holocaust, we deprive ourselves of the knowledge of the human soul, with its hidden recesses of love and care, of dignity and courage, for those were in fact the qualities that the humiliated, spat upon, doomed Jews displayed every day of the tortured lives they led between the barbed-wire fences of the ghetto.

Poems were created in the ghettos, and even at the threshold of the crematoria. As long as there is life, the human heart will never cease singing of its joys and sorrows.

In writing about the ghetto, I wanted to find that source. I wanted to discover the essence of our humanity, to touch upon the core of the human soul and see it reflected in the soul of the ghetto Jew, who had stood stripped of every shred of artifice and pretence necessary to lead a normal life. There, in the ghetto, humans had faced humans without any embellishments or illusions; they had faced the brutality of their fellows, as well as the knowledge of what that brutality meant to their own destinies.

I feared to approach the world that I had lost. I was terrified of plunging once again into the abyss of suffering, of reliving the reality that had nearly destroyed me. I wanted to enjoy my life, to relish every moment. I had learned its value at great cost. I wanted to forget the nightmare. I deplored the fact that my memory was so vivid and would not allow me to forget. And I felt too weak, too incompetent, in the face of the enormity of what I had to describe. How could I encompass and give life to all those who populated my memory? Was not the novel too elegant and too polished a literary form for such a story, was it not too detached from any lived reality, too much a game of cleverly concocted plots? In writing a novel about the Holocaust would I not end by sinning against a reality that was impossible to encompass? Was I capable of recreating the specific atmosphere of those nightmarish days, assuming that it was possible to recreate it in the first place? As time went on, it became increasingly clear to me that no one, not even the most gifted writer, would be able to capture the true atmosphere of the ghetto. Even if the writer succeeded in writing a masterpiece, it would not, it could not, be the real thing. At the same time, it never occurred to me to consider any form but the novel as a vehicle for what I wanted to say. Only the novel seemed to have the necessary scope.