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Making Stories, Making Selves Helen Hooven Santmyer Prize Winners MAKING STORIES, MAKING SELVES HELEN HOOVEN SANTMYER PRIZE WINNERS This Strange Society of Women Reading the Letters and Lives of the Woman's Commonwealth Sally L. Kitch Salvador's Children A Song for Survival Lea Marenn Making Stories, Making Selves FEMINIST REFLECTIONS ON THE HOLOCAUST . Ruth Linden A Helen Hooven Santmyer Prize Winner Ohio State University Press COLUMBUS The following are gratefully acknowledged for permission to use extended quota­ tions from copyrighted works: From "Walter Benjamin, 1892—1940," in Men in Dark Times by Hannah Arendt. Copyright 1968 by Hannah Arendt. Reprinted by permis­ sion of Harcourt Brace Jovanovich, Inc. From Illuminations by Walter Benjamin. Copyright 1955 by Suhrkamp Verlag, Frankfurt a.M. English translation copyright 1968 by Harcourt Brace Jovanovich, Inc. Reprinted by permission of Harcourt Brace Jovanovich, Inc. From "Surviving Stories: Reflections on Number Our Days" by Barbara Myerhoff, in Between Two Worlds: Ethnographic Essays on American Jewry, ed. Jack Kugelmass. Copyright 1988 by Cornell University. Reprinted by permission of Cornell University Press. From Hitlers Death Camps: The Sanity of Madness by Konnilyn Feig. Copyright 1979 by Konnilyn G. Feig. Reprinted by permission of Holmes & Meier Publishers, Inc. From TheTulipsAre Red by Leesha Rose. Copyright 1978 by Leesha Rose. Reprinted by permission of Leesha Rose. From life-history interview with Leesha Rose by Lani Silver (1981). Archives of the Holocaust Oral History Project. Reprinted by permission of Lani Silver and Leesha Rose. From Woman and Nature by Susan Griffin. Copyright 1978 by Susan Griffin. Reprinted by permission of HarperCollins Publishers. Copyright © 1993 by R.Rut h Linden. All rights reserved. Library of Congress Cataloging-in-Publication Data Linden, R. Ruth, 1956­ Making stories, making selves: feminist reflections on the Holocaust / R. Ruth Linden. p. cm.—(The Helen Hooven Santmyer prize in women's studies) Includes bibliographical references and index. ISBN 0-8142-0583-6 (alk. paper). — ISBN 0-8142-0584-4 (pbk. : alk. paper) 1. Holocaust survivors—United States—Interviews. 2. Women, Jewish— United States—Interviews. 3. Jews—United States—Interviews. 4. Jews—-United States—Cultural assimilation. 5. Holocaust, Jewish 1939-1945)—Influence. 6. United States—Ethnic relations. I. Title. II. Series. E184J5L668 1992 940.53'18'0922—dc20 [B] 92-20410 CIP Text and cover design by Donna Hartwick. Type set in Bembo by Focus Graphics, St. Louis, MO. Printed by Cushing-Malloy, Inc., Ann Arbor, MI. Cover photo: The Winder family in Montgeron, near Paris, 1933. Abraham and Ida are in back, Regina and Max in front. In 1942 Abraham and Ida were deported to Auschwitz, where they were gassed. Regina and Max survived the war by hiding with a relative in Montgeron. Photo courtesy of Regina Winder Barshak. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 98765432 To the memory of my father, Edwin Robert Linden (1919-1969), and to my mother, Berna Berry Linden. To Sharon Traweek, Maury Stein, and Irv Zola, beloved teachers and friends. CONTENTS Preface: "But Is It Sociology?" ix Acknowledgments xi Author's Notes xv Prologue: Making Stories, Making Selves 1 PART I: To Be an Assimilated Jew in the Late Twentieth Century 13 1 Reflections on "Sheer Happenings" 15 2 My Grandmother's Samovar 19 3 "We Don't Believe in 'Organized Religion'" 26 4 Coming of Age as a Feminist (1976-77) 34 5 Reinventing Ethnicity (1978-84) 47 PART II: Toward a Sociology of the Holocaust 59 6 Bearing Witness: Reflections on Interviewing Jewish Holocaust Survivors (with Lani Silver) 61 7 Reflections on "Bearing Witness" 70 8 The Phenomenology of Surviving: Toward a Sociology of the Holocaust 84 9 Reflections on "The Phenomenology of Surviving" 103 10 "In the Name of the House of Orange": A Life History of Leesha Rose during the Holocaust 113 11 Reflections on " In the Name of the House of Orange'" 136 Epilogue: Genocide/Consequences 147 Notes 153 Glossary 165 Bibliography 171 Index 181 PREFACE "But Is It Sociology?" I want to know nothing—less than I know. Gail Mazur, "Next Door," in Pose of Happiness Galut. Remnants. Fragments. Ruptures. The condition of Jews since the destruction of the First Temple, of European Jewry after the Holo­ caust. The postmodern condition. This morning, my friend, a poet, and I are talking about our struggle as writers. Our talk turns to my work, this book, and I tell my friend how I am plagued by a harsh, internal voice incessantly asking, "But is it sociology?" I tell my friend how, in my personal life, among friends, I recognize that I have sometimes fudged autobiographical truths, settling for telling "less than I knew." Many times, I have taken shortcuts to short- circuit my own pain. The pain of self-recognition. But concerning my work, I explain to my friend, my standards are uncompromising. There is less room for ambiguity, for those well-concealed chambers where silences sometimes take refuge. Later on, I recognize a certain hollowness —naivet6, in these words, for truth is rarely singular or absolute. There are only truths: relative, changing, emergent—as new light is shed on familiar circumstances. And silences, too, are a matter of degree. I tell my friend I can ask no less of myself than I ask of my ethnographic subjects. I must be prepared to be at least as vulnerable and honest as I ask them to be. I must be willing to stand beside them, not to speak/or them but to speak for myself and with them. This, I believe, is the first principle of a postpositivist research ethic. Memories are tricky. They come and go according to their own rhythms and reasons, like waves on the ocean, revealing themselves in mysterious, unpatterned ways. Chronological storytelling—first this happened and next that happened, involves a high level of interpretation, for memories are never "pure"—raw or uninterpreted. Even as the vicissitudes of memories may elude us, we do well to respect them. IX Preface As I exercise my own memories, I find it difficult to establish whether specific thoughts and feelings I want to record originate in past or present moments. Did I really think or feel that way at Pesach in 1983 or at my sister's wedding during the same year? Or have I improvised an account in order to tell a good story? Did this memory occur alongside that remembered event? Or is it an artifact of the process of reconstruc­ tion? Is the "problem" of memory's veracity really a problem? For as we fashion the stories of our lives, memories naturally blur with subsequent interpretations of remembered events. Fragments and ruptures braid themselves into a seamless, continuous whole. Memories, after all, are arranged synchronically. Buddhism teaches us that time is an illusion. In sociology, we call such illusions "social constructions." Recall has its limits. "I don't know—or remember" is a valid and meaningful response, one that is often more honest than an unequivocal "yes." Certitude can be suspect. As Monique Wittig wrote in Les Guerillieres: "You say you have lost all recollection of it, remember. You say there are no words to describe this time, you say it does not exist. But remember. Make an effort to remember. Or failing that, invent. "a Inventing, in any case, is the sine qua non of Homo narrans, humankind as storyteller.2 ACKNOWLEDGMENTS I would like to express my deep gratitude to more than two hundred survivors and their families who allowed my colleagues and me to interview them at the 1983 American Gathering of Jewish Holocaust Survivors. I am especially indebted to Regine Winder Barshak, Susan E. Cernyak-Spatz, Helen Chalef, Gloria Hollander Lyon, and Leesha Rose, who read my work-in-progress, challenged my interpretive errors, and corrected my factual ones. These women—great storytellers—are my teachers in the deepest sense of the word. They have given me parts of myself I hadn't recognized before and helped me find my place in the stream of Jewish culture and history. Lani Silver made it possible for me to begin working with Holocaust survivors. Together, we founded the Holocaust Media Project in San Francisco (renamed the Holocaust Oral History Project in 1984) and sowed the seeds for this book. Many friends and colleagues, including my teachers and students, helped me bring this book to life. I have been vitalized by our conversa­ tions over the years and by their support and advice at every stage of my writing. Without them this book would not exist in its present form. From the very beginning, Mary Canedy Burt believed in the impor­ tance of this project. For more than a decade her generous friendship has been a source of inspiration and sustenance. After I moved to Cam­ bridge, Vera Ruth Obermeyer helped keep me connected to my home in San Francisco. Her unswerving optimism and faith have given me courage in my darkest moments. In 1986 Vera arranged for me to receive a grant from Learning Associates that allowed me to begin analyzing survivors' life stories. The Henry A. Murray Research Center at Rad­ cliffe College administered the grant and welcomed me as a visiting scholar during 1986-87. XI Acknowledgments An earlier version of this book was written as my doctoral disserta­ tion at Brandeis University. Three remarkable advisors with whom I worked closely guided my writing with wisdom and love. Sharon Traweek of the MIT Program in Anthropology and Archeology and the Program in Science, Technology, and Society (now in the anthropology department at Rice University) has been my mentor and friend.
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