Again she reaches for the photograph, raises it to her nearsighted eyes, looks at it for a long time, and says, "You can still see the traces of footprints." And a moment later, "That's very strange." That's the direction they walked in. From the Judenrat down Miesna Street. She looks at the footprints, the snow, and the stalls once again. "I wonder who photographed it? And when? Probably right afterwards: the footprints are clear here, but when they shot them in the afternoon it was snowing again." The people are gone-their footprints remain. Very strange. "They didn't take them straight to the fields, but first to the Gestapo. No one knows why, apparently those were the orders. They stood in the courtyard until the children were brought." She breaks off: "I prefer not to remember..." But suddenly she changes her mind and asks that what she is going to say be written down and preserved forever, because she wants a trace to remain. "What children? What trace?" A trace of those children. And only she can leave that trace, because she alone survived. So she will tell about the children who were hidden in the attic of the Judenrat, which was strictly forbidden under pain of death, because children no longer had the right to live. There were eight of them, the oldest might have been seven or so, although no one knew for sure, because when they brought them over they didn't look at all like children, only like...ach...The first tears, instantly restrained. They heard the rumbling, a horse cart drove up to the yard, and on it were the children. They were sitting on straw, one beside the other. They looked like little gray mice. The SS-man who brought them jumped down from the cart, and said kindly, "Well, dear children, now each of you go and run to your parents." But none of the children moved. They sat there motionless and looked straight ahead. Then the SS-man took the first child and said, "Show me your mother and father." But the child was silent. So he took the other children one by one and shouted at them to point out their parents, but they were all silent. "So I wanted some trace of them to be left behind." ("Traces")
Israeli writer (1921-2011)
It was near the end. They had already shot my sons and my husband. I remember that people were saying, 'How can she do it? Why should she save herself? For whom?' But you know, the life force has such strong roots, you can't tear it out. Even after those we love most have died. But you are young, what do you know about that? ("The Other Shore")
And what will you say when they ask you about your parents?" "Mama's at work." "And Papa?" He was silent. "And Papa?" the man screamed in terror. The child turned pale. "And Papa?" the man repeated more calmly. "He's dead," the child answered and threw himself at his father, who was standing right beside him, blinking his eyes in that funny way, but who was already long dead to the people who would really ring the bell. ("The Key Game")
The girl who had been crying was now sobbing louder; all of us were aware that every passing minute brought the train's thunder nearer, that any moment now we would hear death riding down the tracks. One girl cried "Mama!" and then other voices cried "Mama!" because there was an echo in the woods. ("Jean-Christophe")
It was silent in the forest. There were no birds, but the smell of the trees and flowers was magnificent. We couldn't hear anything. There was nothing to hear. The silence was horrifying because we knew that there was shooting going on and people screaming and crying, that it was a slaughterhouse out there. But here there were bluebells, hazelwood, daisies, and other flowers, very pretty, very colorful. That was what was so horrifying-just as horrifying as waiting for the thundering of the train, as horrifying as wondering whom they had taken. ("Jean-Christophe")
It was then-the old men of our town were already on their way and were passing their homes and the children and grandchildren hidden behind their windows-it was then that the door of one of those houses opened and we saw a woman running across the marketplace. She was thin, covered with a shawl, carrying her huge pregnant belly in front of her. She ran after those who were walking away, her hand raised in a gesture of farewell, and we heard her voice. She was shouting, "Zei gezint, Tate! Tate, zei gezint!" And then all of us hidden in the darkness began to repeat, "Zeit gezint," bidding farewell with those words to our loved ones who were walking to their deaths. ("*****")
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Our fate suddenly came to a halt and hung there for a moment, suspended over the abyss it had been racing toward, hung there for a few minutes (five? six?) and then, just as suddenly, turned...This was why I had come here, just for that moment at the crossroads, that sudden turn, that circus trick performed by our fate. (p248-9)