Etikett: #6

Already in one of the first scenes of the film Unzere Kinder (that follows after the newsreel prologue that depicts the harsh reality of Jews being mass-deported to the Auschwitz extinction camp and what happened to them and their belongings there), the children from the orphanage who belong to the minimal number of surviving Polish-Jewish children protest and confront the two from the exile in the Soviet Union returning, Kleinkünstler who essentially are playing themself and in a sketch perform a sentimentalized version of the wartime events (“because that is not how it was”), opens up the divide (in the context of the film) between the children who were forced to become survival artists (compare the quote from one of the boys, “It was my job to trick the German gendarmes”) and the returning artists who survived the war exiled deep into Soviet Russia.

This article is about the declining morals and mores of the Jewish inhabitants in the wartime Warsaw Ghetto that was presumably written on 4^th July 1942. It is derived from the “Street” section of Volume One of The Ringelblum Archive Underground Archive of the Warsaw Ghetto (Published by Żydowski Instytut Historyczny im. Emanuela Ringelbluma; Warsaw). The text is attributed to Stanisław Różycki, and its complete title in translation reads as follows: “4^th July. Warsaw, ghetto. A study [of] ‘Ulica’ [The Street]. The appearance and the social life of the street in the ghetto” (hereafter referred to as the Morality of the Street). The original text is written in Polish and on the archive’s website, described as: ”handwritten, notebooks, ink, Polish, 150×197 mm, 31 sheets, 31 pages”. In the transcribed and translated (to English) form I am analyzing and quoting here [insert link to the full source text]), the text consists of around 8.800 words, including footnotes, spread over 19 A4 pages.

When one reads the poem “Grains of Wheat” by Avrom Sutzkever (written in the ghetto of Vilna and here read and analyzed in English translation, see here for the full text) and stumble upon the line “As if protecting a baby -,/I run with the Yiddish word,” is it hard not to start associating to the poet’s firstborn child that was slaughtered in the ghetto the day after he was born; the child was just alive so long it took for the mother of the poet to forget that her grandchild was doomed to be killed from the moment he was born, the same way as Herod once “killed all the male children in Bethlehem and in all that region that were two years old or under” (Matthew 2:16). Maybe it is during this short time, during this split second of dissonance, that the poem is written, that the poem takes place. The poet may be unable to save his Jewish child but is now trying to save the Yiddish word (and all that is written with it and within it) with his written words.