I attended the \”Liberation!\” exhibit at the Museum of Tolerance — photos and objects and footage from the moments in the spring of 1945 when the doors of the Nazi concentration camps were thrown open to the world, and when those few remaining within were set free.
Liev Schreiber has traveled a similar road in coming to terms with his personal history, the loss of his grandfather and the mystery — the unspoken family history his grandfather embodied.
As a child, Joseph Lelyveld\’s parents called him \”memory boy.\”
In a tale rooted in personal experience, Dr. John Menkes explores the themes of loss and recovery in his novel “After the Tempest” (Daniel & Daniel, 2003). A Holocaust survivor, Menkes returned to his hometown of Vienna after the war and found that not only was his family and his home gone, but his very identity had been irrevocably lost.
Both brides were beautiful and the dress was a focal point each time, thanks to the loving restoration work by dressmaker Camila Sigelmann, who made it possible for Amee Huppin Sherer to be married in Grandma Marian Huppin\’s 1925 wedding gown.
\”Boy\” revolves around 40ish novelist Eric Weiss, who returns home — actually to the hospital where he was born — to visit his dying father, Manny, a shoe salesman. It\’s his first trip back in a while, and he\’s ambivalent: \”I saw what Brooklyn did to my parents, and I knew I had to get the hell out of here,\” he tells a friend. \”I saw … the fear, the xenophobia, the suffocating double grip the Holocaust and the Depression had around their throats.\”
Block\’s father owned the lithograph collection, because he was a childhood friend of Abraham Rattner\’s publisher, New York art dealer Bill Haber.
What does it mean to \”resist history\”? What is \”historicism,\” and why would there be \”discontents\” toward historicism in German Jewish thought, or in any intellectual society?
Aviva Slesin\’s affecting but unsentimental documentary focuses on the psychological aftermath of hiding, such as the sense of abandonment child survivors carried into adulthood and the difficulty rebonding with parents.
In one of the most complex legal battles in the annals of Holocaust restitution, centering on the return of art looted by the Nazis to their rightful owners, E. Randol Schoenberg is stationed on the front lines.
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