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I DIDN'T KILL JESUS

THE HOLOCAUST, 3 GENERATIONS

An elegy, a gift, a poignant record.

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Haber, a first-time author and child of Holocaust survivors, memorializes the hardships her family faced during World War II.

Beginning by lamenting the loss of the fading generation of Holocaust survivors, Haber frames her story as a plea to never forget the atrocities of the war. By the end, however, it’s apparent that Haber wrote this book for her father, both as a comfort to him in his old age and as assurance that his story would not be forgotten. But more than focusing on her father’s suffering, Haber details her parents’ deep love for each other, her mother’s long and complicated process of Jewish conversion, and the consequences of her parents’ decision to stay in Germany after the war. Their lives, Haber writes, were poisoned not only by post-traumatic stress from surviving genocide, but also by Germany’s unextinguished anti-Semitism. For the family, staying in Straubing after the war meant living as outsiders. Haber recalls being bullied not just by the kids in her class, but also by teachers and her friends’ families. Yet even as she catalogs her vexed upbringing in postwar Germany with interfaith parents, Haber describes growing up in what ultimately registers as a very loving though insular home. In describing her parents’ relationship, Haber writes, “They were like Adam and Eve,” repopulating their lives and families with loved ones. “I’m still resentful of what happened to my father,” she says, and even as an adult, after moving overseas to build a new life away from the land where such violence undid her family, “I also feel that I am being held hostage by the Holocaust,” illustrating the cycle of paranoia and emotional damage she unwittingly passed down to her own children. Especially moving is the inclusion of old photographs of Haber’s family who perished in concentration camps. Rather than overstating what was already strikingly described in the writing, the photos take on symbolic meaning as the feeble remains of lost relatives. Unapologetic and unconcerned with gracefulness, Haber’s writing spares not a moment in burrowing to the core of multigenerational trauma. Her account itemizes the suffering not just of her family, but of all those touched by the brutalities of Nazi Germany.

An elegy, a gift, a poignant record.

Pub Date: Feb. 20, 2013

ISBN: 978-0615633619

Page Count: 126

Publisher: CreateSpace

Review Posted Online: Oct. 17, 2013

Kirkus Reviews Issue: Nov. 15, 2013

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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