Images in Spite of All


Book Description

Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.




Invention of Hysteria


Book Description

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.




Bark


Book Description

A noted French thinker's poignant reflections, in words and photographs, on his visit to Auschwitz-Birkenau. On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman's meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman's own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman's photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.




People Love Dead Jews: Reports from a Haunted Present


Book Description

Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.




Spite


Book Description

Spite angers and enrages us, but it also keeps us honest. In this provocative account, a psychologist examines how petty vengeance explains human thriving. Spite seems utterly useless. You don't gain anything by hurting yourself just so you can hurt someone else. So why hasn't evolution weeded out all the spiteful people? As psychologist Simon McCarthy-Jones argues, spite seems pointless because we're looking at it wrong. Spite isn't just what we feel when a car cuts us off or when a partner cheats. It's what we feel when we want to punish a bad act simply because it was bad. Spite is our fairness instinct, an innate resistance to exploitation, and it is one of the building blocks of human civilization. As McCarthy-Jones explains, some of history's most important developments—the rise of religions, governments, and even moral codes—were actually redirections of spiteful impulses. A provocative, engaging read, Spite shows that if you really want to understand what makes us human, you can't just look at noble ideas like altruism and cooperation. You need to understand our darker impulses as well.




Rena's Promise


Book Description

An expanded edition of the powerful memoir about two sisters' determination to survive during the Holocaust featuring new and never before revealed information about the first transport of women to Auschwitz In March 1942, Rena Kornreich and 997 other young women were rounded up and forced onto the first Jewish transport of women to Auschwitz. Soon after, Rena was reunited with her sister Danka at the camp, beginning a story of love and courage that would last three years and forty-one days. From smuggling bread for their friends to narrowly escaping the ever-present threats that loomed at every turn, the compelling events in Rena’s Promise remind us that humanity and hope can survive inordinate brutality.




The Tattooist of Auschwitz


Book Description

The incredible story of the Auschwitz-Birkenau tattooist and the woman he loved. Lale Sokolov is well-dressed, a charmer, a ladies' man. He is also a Jew. On the first transport of men from Slovakia to Auschwitz in 1942, Lale immediately stands out to his fellow prisoners. In the camp, he is looked up to, looked out for, and put to work in the privileged position of Tatowierer - the tattooist - to mark his fellow prisoners, forever. One of them is a young woman, Gita, who steals his heart at first glance. His life given new purpose, Lale does his best through the struggle and suffering to use his position for good. This story, full of beauty and hope, is based on years of interviews author Heather Morris conducted with real-life Holocaust survivor and Auschwitz-Birkenau tattooist Ludwig (Lale) Sokolov. It is heart-wrenching, illuminating, and unforgettable. 'Morris climbs into the dark miasma of war and emerges with an extraordinary tale of the power of love' - Leah Kaminsky




Images in Spite of All


Book Description

Of one-and-a-half-million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. The author's relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from text to images.




The Man Who Broke Into Auschwitz


Book Description

The Man Who Broke into Auschwitz is the extraordinary true story of a British soldier who marched willingly into the concentration camp, Buna-Monowitz, known as Auschwitz III. In the summer of 1944, Denis Avey was being held in a British POW labour camp, E715, near Auschwitz III. He had heard of the brutality meted out to the prisoners there and he was determined to witness what he could. He hatched a plan to swap places with a Jewish inmate and smuggled himself into his sector of the camp. He spent the night there on two occasions and experienced at first-hand the cruelty of a place where slave workers, had been sentenced to death through labor. Astonishingly, he survived to witness the aftermath of the Death March where thousands of prisoners were murdered by the Nazis as the Soviet Army advanced. After his own long trek right across central Europe he was repatriated to Britain. For decades he couldn't bring himself to revisit the past that haunted his dreams, but now Denis Avey feels able to tell the full story -- a tale as gripping as it is moving -- which offers us a unique insight into the mind of an ordinary man whose moral and physical courage are almost beyond belief.




The Eye of History


Book Description

An exploration of the interaction of aesthetics and politics in Bertolt Brecht's “photoepigrams.” From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to “take a position” about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams—a “documentary lyricism” that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing—a process Didi-Huberman calls a “dialectic of the monteur.” These works are examples of “the eyes of history”—when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works.