{"id":6318,"date":"2025-03-10T22:03:46","date_gmt":"2025-03-10T22:03:46","guid":{"rendered":"https:\/\/primolevicenter.org\/printed-matter\/?p=6318"},"modified":"2025-03-13T00:33:25","modified_gmt":"2025-03-13T00:33:25","slug":"in-the-shadow-of-the-holocaust-edith-brucks-short-stories","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/in-the-shadow-of-the-holocaust-edith-brucks-short-stories\/","title":{"rendered":"In the Shadow of the Holocaust: Edith Bruck\u2019s Short Stories"},"content":{"rendered":"

Edith Bruck, This Darkness Will Never End<\/i>, Paul Dry Books, 2025, Translated by Jeanne Bonner | 187 pp.<\/p><\/blockquote>\n

\nYuval Jonas<\/a>\r\n\t \t\t
Yuval Jonas is an actor and playwright. <\/div>\n<\/div>\n

In 1944, at the age of 13, Edith Bruck was deported to Auschwitz. She was then transferred to Dachau, Christianstadt, Landsberg, and finally, Bergen-Belsen, where she was liberated by the Allies. In This Darkness Will Never End<\/i>, her first short story collection, originally published in Italy in 1962 as Andremo in citt\u00e0<\/i> (\u201cWe\u2019ll Go to Town\u201d) and now translated into English for the first time, there is not a single mention of the Holocaust.<\/p>\n

Its absence defines the collection. The stories mainly take place in the years before the war, in villages and homes where hunger is ever-present, where children sneak moments of joy, and where the menace of the future looms, still unknown, but closing in. These are stories of childhood\u2014its innocence, inquisitiveness, disappointments\u2014and of parents, overworked and exhausted, but giants in the eyes of their children. In reality, they are just as helpless against history. <\/span><\/p>\n

\"\"<\/a>Bruck was born in 1931 in the small village of Tiszabercel, Hungary, and grew up in poverty.  <\/span>She lost both her parents as a young child in the camps\u2014her mother in Auschwitz and her father in Dachau. She dedicates the book to her father: \u201cWho got nothing from life, and undeserved ridicule from us.\u201d <\/span><\/p>\n

Indeed, fathers appear again and again in these stories, as do mothers. Almost every story begins with \u201cmy mother\u201d or \u201cmy father\u201d or both, if not in the first paragraph, then certainly by the second.<\/p>\n

In The Frozen River<\/i>, the collection\u2019s first story, Erika, a young girl from a poor Jewish family, falls in love with Endre, a Christian boy from the city. Her family cannot afford to send her to school, so while Endre studies, she does chores\u2014such as washing clothes in the frozen river. She must use a hatchet to break the ice. It is there, under the trees by the river, that the two teenagers meet in secret. One day, Endre tells her they have to stop. He does not say why, but she understands. \u201cThey\u2019re fine people, just a little untrusting toward us,\u201d her mother tells her.<\/p>\n

This is how antisemitism functions in these stories: through the eyes of children or adolescents attempting to understand the world around them. Antisemitism is never explicitly made central, but is instead a force that enters and disrupts the lives that the characters had hoped to live.<\/p>\n

That Bruck tells these stories from the perspective of children without the comfort of an omniscient narrator makes her narratives all the more powerful. In the eponymous story, which some scholars argue was an inspiration for Roberto Bengnini\u2019s 1997 film Life Is Beautiful, <\/i>a young girl, Lenke, takes care of her blind brother, Beni. When the Nazis arrive to take them away, she lies to him. She tells him they are being helped because they\u2019re orphans, and that \u201cthere are a lot of people in need of help and they [the Nazis] don\u2019t want it widely known\u2026 That\u2019s why they\u2019re acting rude and annoyed.\u201d When he asks her about the train, she tells him it is elegant, with red velvet seats and white curtains.<\/p>\n

The story that follows, Silvia<\/i>, is about a different child who does not understand what he is witnessing. Robert is the son of a Nazi officer. He throws snowballs at passing trains until one day he hears voices\u2014men, women, children\u2014crying from inside. But his mother refuses to explain. Undeterred, he returns to the trains and stumbles into the nearby forest, where he finds a girl sobbing, buried in the snow. He carries her home and announces: \u201cHere\u2019s a daughter for you and a little sister for me. You always wanted a little girl named Silvia. From now on, we\u2019ll call her Silvia.\u201d<\/p>\n

His mother is horrified. His father locks her in a bunker. Soon, the parents die in an Allied bombing and only Robert and \u2018Silvia\u2019 survive. Silvia has a sign around her neck: \u201cMiryam Lewy, Born 1939, Budapest.\u201d <\/b>When a Red Cross worker asks for their names, Silvia scratches out her given name and rewrites it with her new one. She tells the Red Cross worker that Robert\u2019s last name is Lewy, and then turns to him:  <\/span>\u201cYou\u2019re my brother, right?\u201d<\/p>\n

These two stories form a striking diptych: In the first, one child saves another from the knowledge of horror; in the second, one child saves another without knowing the horror. <\/span><\/p>\n

Poverty permeates the collection. It appears in every detail\u2014never enough food, worn-out shoes, shared beds, endless chores. In At the Foot of the Bed<\/i>, siblings take turns sleeping at their parents’ feet, because there aren’t enough beds. In The Verdict<\/i>, a mother is frightened every week of the shochet’s verdict: will the meat be considered tref <\/i>(not kosher), leaving the family without enough to eat? (A shochet is one certified to slaughter animals according to Jewish tradition.) In My Father’s Horse<\/i>, a father buys a sickly horse with the family’s meager savings only to have it die immediately, leaving the family worse off than before.<\/p>\n

This crushing poverty creates a peculiar fascination with funerals\u2014especially with the contrast between those of the rich and of the poor. One young narrator describes her \u201cfavorite pastime\u201d as \u201cfollowing the funeral processions of the rich.\u201d She continues: \u201cA poor person’s funeral isn’t any fun… A bony horse would drag the cart with the casket through the town, and the people who came out to look would go right back inside… In the summer, there were wooden crosses, but come winter, they would be stolen to burn in the stove.\u201d These children observe death with a closeness that foreshadows what is coming.<\/p>\n

In Come to the Window, It’s Christmas<\/i>, Bruck captures a moment of terror in just a few pages. A girl waits excitedly for friends to sing Christmas carols under her window. Instead, she hears shouting in a foreign language. Then, a clear: \u201cHeil Hitler!\u201d The parents panic, and believing they\u2019re about to be deported, quickly pack a suitcase. The girl rushes to the window and sees her friends laughing, Hitler mustaches drawn on their faces. Afterwards, the girl asks her father:<\/p>\n

\u201cIt was a joke, right, Papa? Just a joke.\u201d
\n\u201cYes,\u201d he replies. \u201cNow we can sleep.\u201d<\/p>\n

Bruck’s prose is direct and spare, free of sentimentality, and Jeanne Bonner\u2019s translation preserves this clarity. When I spoke with Bonner, I asked why Bruck chose to write these stories in Italian. Nearly all take place in Hungary, and Hungarian was her first language\u2014was it simply because she lived in Rome? Bonner, who met with Bruck many times during the work of translation, told me that Italian served as a \u201clinguistic buffer\u201d for her\u2014a way to write about these memories without reliving them in Hungarian. Bonner continues to translate Bruck\u2019s work.<\/p>\n

After the war, Bruck briefly returned to Hungary, then lived in Czechoslovakia and spent three years in Israel before arriving in Italy in 1954. She settled in Rome, where she married filmmaker and poet Nelo Risi and still lives and writes today at the age of 93. Adopting Italian as her literary language, she wrote more than thirty books and worked in theater, film, and television. Her contributions to Italian literature and Holocaust testimony have been widely recognized.<\/p>\n

With this collection, written at the beginning of her illustrious career, Bruck delivers an elegy\u2014for childhood, for parents lost too soon, and for a world that once existed.<\/p>\n

<\/div>\n

Image: Edith Bruck, Digital Library, CDEC, Milan<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Edith Bruck, This Darkness Will Never End, Paul Dry Books, 2025, Translated by Jeanne Bonner | 187 pp. In 1944, at the age of 13, Edith Bruck was deported to…<\/p>\n","protected":false},"author":2,"featured_media":6341,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-6318","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nIn the Shadow of the Holocaust: Edith Bruck\u2019s Short Stories - Printed_Matter<\/title>\n<meta name=\"description\" content=\"Bruck was born in 1931 in the small village of Tiszabercel, Hungary, and grew up in poverty.\u00a0 She lost both her parents as a young child in the camps\u2014her mother in Auschwitz and her father in Dachau. 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