Why Holocaust accounts—and their fictions or omissions—can be a threat to the history of a complicated, tragic human reality
By Anna Hájková for Tablet Magazine
In 2013 the Israeli historian Otto Dov Kulka published a recollection of his childhood in concentration camps, Landscapes of the Metropolis of Death. Historians and general audiences praised the poetic and reflective tone of the book. Deported at 11 years of age from Theresienstadt, Kulka spent a year and half at Auschwitz and is one of the very few children of his age who survived. Quite unlike most other survivors’ accounts, Kulka’s book has little narrative: It is a collage of impressions, dreams, and metaphysical musings about the world of Auschwitz.
Yet this style masks the fundamental omission of a complicated family history, including adultery, bitter divorce, and a paternity suit. In short, what Kulka wrote was a book about a family that never was.
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