Lily: Rather than acknowledge this and do something like direct his artistic vision to conveying th[e problem of] inefficacy [of representations of the Holocaust generally] by, for example, dizzying us with an overwhelming amount of images and scenes or using unconventional camera angles or resisting one story line, Spielberg ploughs through, wants to pass off his movie as an 'accurate' portrayal, and that's that.
Rachel: Schindler’s List is not only easy because it tells us what to feel. It is easy because it tells us to feel obvious and uncomplicated emotions. The terrible contradictions and the ambiguity of moral questions are largely forgotten in his film. Schindler’s List is a blockbuster, with some interesting characters; but I don't think it represents the experience of the Holocaust victim.
Sami: As I watch Schindler's List I can't help thinking that a movie representation of the Holocaust is the least effective way of getting us to understand the X. Whereas Levi and Wiesel struggle with bearing witness, Spielberg is thinking about how to make an intriguing, compelling story. How can you take the occurrences of the Holocaust and try to produce the story for an audience? How can you hire actors who cannot possibly understand the X to pretend they were part of the Holocaust? The more I think about these questions, the more I find the film offensive and presumptuous. That's just my initial reaction....
Our narrator is super-attentive to details but otherwise entirely oblivious. Yes, it's Heinrich Boll, one of his post-Holocaust stories about German society: "Across the Bridge". He works for a company whose business is suspect, but he doesn't inquire. He carries parcels and messages but doesn't know what they are. He relishes his routine trips, though, seeing in one house along the way the perfect rhythms of regularity: a woman keeps scrubbing windows, on schedule. The routine is an aesthetic, and it is associated with those first postwar months: he had crossed the bridge almost daily in those days, but then it was rickety and war-torn, and he remembers feeling that dread and emptiness. Would the train ever get across? Sometimes classic literary psychoanalytic readings work sufficiently. In this case, for sure. Let's call it - with the Mitscherlichs, who wrote on it about postwar Germans years ago - "the inability to mourn." By the way, I feel the same dread watching all those slow-moving Holocaust-related trains in Shoah and The Truce and elsewhere.
The blog, "Writing the Holocaust," as of this morning has just two blog posts, one for March and one for April. But it's of interest to me nevertheless. April's is a longish entry giving "some cautions on writing Holocaust poetry." It begins with Charles Reznikoff and makes reference to Holocaust verse by Snodgrass, Rich, C.K. Williams, et alia.
Last fall (autumn 2006) I taught my Holocaust course again. I love teaching the modern and contemporary American poetry course, English 88, and my annual spring Writers House Fellows Seminar, but I can't say I "love" teaching the Holocaust course. Do I feel obliged or committed to do so? Am I part of the "chain of witness"? That seems much too simple.
Daughter of an Auschwitz survivor, Debbie Fischer, asks her father, as he lies dying, to tell her the real story of his time at the death camp. He has refused to tell her much all these years, always giving a blandly positive response to life in the camp. Here is the audio recording of her testimony about his testimony: mp3.
At an event we called "7 Up on Gold"--featuring seven people speaking for seven minutes each about gold, the color or the element--I chose to speak about the chapter entitled "Gold" in Primo Levi's brilliant book, The Periodic Table. I've taught the book a number of times in my course on the Holocaust.