A Failure to Understand: The Power of Berlin’s Holocaust Memorial
I Mean No Disrespect to Anne Frank
Photos by Brittany Deitch
The Memorial to the Murdered Jews of Europe is a field of stone slabs in Berlin. They rest like tombstones but without names; they’re hardy, claustrophobic, and pass time as an amalgamation of unresolved souls. When you’re deep inside, it’s easy to forget that there’s a way out. Kids populate the architectural project as if it were a playground, chasing each other around The Holocaust Memorial. Dragging themselves up and back, surging through rows, they laugh, and gasp for breath as they gain on one another. Eventually one catches up to the other and they exchange roles. The chaser becomes the runner and the runner becomes the chaser– it might be the true art display of the Holocaust Memorial. A symbolic act of passionate escapism.
My parents didn’t want me to come to Germany. They were afraid of me visiting Europe and not returning home in one piece. “They hate Jews there. They still hate us,” they said. I rolled my eyes and shrugged it off as their typical overbearing neuroticism. Whenever I admit the sentiment to my friends, they think that my parents are out of touch. They laugh. I laugh too.
On my first visit out of the country, and yearning to find out for myself– I line up for The Holocaust Memorial with my best friend, Sameera, telling the joke that I had thought of a few hours earlier, and saved for the moment. I say “Holocaust Memorial? More like, what up fam?” We both laugh again. I say, quieter this time, “do you think they’ll let us up to the front if I tell them I’m Jewish?” I look over my shoulder and check people’s faces to see if they’ve heard me.
Before visiting Germany, we started our 10 day trip in France. Everything about it was entrancing, and so was the native language, but I couldn’t speak. This was a feeling that shocked me more than it did as a theoretical thought. I had never left the country before, and therefore had never been somewhere in which English wasn’t the main language, so it was as much of a culture shock as it could’ve been to visit a place where the majority of the population still knows English. In Paris, life felt warm and charming, a little secluded, but more-so as a product of the language barrier than any negative experience. The division followed me to Berlin, but it turned crisp and icy.
There is a shift in the air from one place to the other. Here, it’s real. I can feel the air rejecting me, or maybe my parents plunged me deep into subconscious paranoia. I know that this isn’t the year 1942, and they have never actually been to Germany.
Sameera and I rest on the ground behind the 45 minute line, hovering, lifting ourselves, then lowering our bodies back down to the pavement each time the cluster in front of us inches a few feet forward, then eventually lets us down the stairs to the first exhibit. I absorb the English section of the pre-Holocaust timeline off the walls, which guides me down the lengthy hallway, slowly, and aware of the people around me who can comprehend it quicker. It concludes with death, and a doorway to a pitch black room. Projected images of letters burn into the floor, and act as the only lightness in the room. Nobody makes noise. I occasionally hear the clicking of a camera or the shuffling of a loud foot. I tread lightly, reading each individual word from the letters, written by Jewish individuals, who told their families their frantic goodbyes. I feel myself become consumed inside their stories, falling much heavier to the ground where the projections rest.
Suzanne Burinovici writes to her husband, “My Dear, don’t separate from Michel. Don’t let yourself be taken to the children’s home. Write to Papa, maybe he can help you, and write to Paulette. Ask the furrier across the way for his advice. Maybe God will pit you. We are leaving tomorrow, for who knows where. I’m hugging you, in tears. I would so much have loved to hug you again, my poor children, I will never see you again.”
Szentkirályszabadja writes on October 31st, 1944: “I fell beside him and his corpse turned over, tight already as a snapping string. Shot in the neck – And that’s how you’ll end too, I whispered to myself, lie still; no moving. Now patience flowers in death. Then I could hear – Der springt noch auf – above, and very near. Blood mixed with mud was drying on my ear.”
The room that follows is covered in darkness too, but a lighter shade. Another projected image is drawn into my attention and flashes a name on a singular wall. A voice emerges over the speaker, first in German, then in English, explaining a two-to-three sentence background of the human name on the wall before turning into the next one. I think about my mom telling me that she became obsessed with trying to figure out The Holocaust when she came into her 20s, and about the concept itself of having to tell a child about it before they can really understand, and if it really gets through, with words. When I was told, I asked why it occurred. My mom responded that none of it makes any sense. At the time, I thought that if something was history it had to be far away, but a lot of the time, history is only yesterday.
I start to cry in the room with black walls and eyes all pointed in the same direction, quieter than I would if my friend weren’t with me. To try to describe it with words makes my voice feel lost. I just blink, and stare blankly as a group of teenage boys take a selfie in front of a cluster of stones identical to the ones above ground. Up the stairs, people laze on them like seats, using them for comfort. Children throw themselves from one to another, like playground stools. I can’t help but imagine real people beneath them, banging to get out. The Holocaust wasn’t really that long ago– they might still be salvageable if we get them out fast enough.
Not even 100 years have passed since the tragedy. I understand why my parents are afraid of this country, and why they didn’t want me to come, but I think that I needed to see it too. And I understand why people think I’m crazy, and they’re crazy—in general, but also specifically by misunderstanding the trauma.