Morris Wyszogrod - A brush with death: an artist in the death camps
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In this memoir Morris Wyszogrod recounts his experiences from the time of the Nazi invasion of Poland to the liberation of the Theresienstadt concentration camp in 1945. He describes in detail the time he spent in the Warsaw Ghetto; his work as an artist for various Luftwaffe personnel at the Warsaw military airport; his experiences at the Budzyn concentration camp, where he was assigned to decorate the living quarters of the SS and to produce drawings at an orgiastic Oktoberfest; his removal to Plaszow, where he was put to work digging up mass graves and burning the bodies to eliminate the evidence of Nazi war crimes; his witnessing of the firebombing of Dresden in February 1945; and his subsequent liberation at Theresienstadt by the Red Army in May 1945. Just as an artist may register what she or he sees against a sensitive visual and moral template, so Wyszogrod doubly registered what he saw and felt, both in his drawings and in his memories.
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SUNY series in Modern Jewish Literature and Culture Sarah Blacher Cohen, editor
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A Brush with Death
An Artist in the Death Camps
Morris Wyszogrod
State University of New York Press
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Published by State University of New York Press, Albany
1999 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, address State University of New York Press State University Plaza, Albany, New York 12246
Cover design by Morris Wyszogrod Illustrations done after the liberation by Morris Wyszogrod Production by Dana Foote Marketing by Dana Yanulavich
Library of Congress Cataloging-in-Publication Data Wyszogrod, Morris, 1920 A brush with death : an artist in the death camps / Morris Wyszogrod. p. cm. (SUNY series in modern Jewish literature and culture) Includes index. ISBN 0-7914-4313-2 (hc : alk. paper). ISBN 0-7914-4314-0 (pb : alk. paper) 1. Wyszogrod, Morris, 1920 . 2. JewsPolandWarsaw Biography. 3. Holocaust, Jewish (19391945)PolandWarsaw Personal narratives. 4. Holocaust, Jewish (19391945), in art. 5. Warsaw (Poland)Biography. I. Title. II. Series: SUNY series on modern Jewish literature and culture. DS135.P63W946 1999 940.53'18'092dc21 [B] 99-27877 CIP 10 9 8 7 6 5 4 3 2
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In memory of my beloved parents, Doba and Chaim Boruch Wyszogrod, my sister, Esther Raizl, my brothers, Pesach and Shlomo Yitzhak and all those who perished with no one to mourn them.
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Acknowledgments
First and foremost, credit must go to my dear wife, Helen, my most devoted life's partner. For years, she, together with our children Diane and Barry, listened to my story, and heard my message: Remember! Do not forget! They went through the passage of pain with me. To them, I say, thank you.
I am deeply indebted to Professors Edith and Michael Wyschogrod for their encouragement and support, and for making it possible for me to tell publicly the story of my survival.
Professor Michael Wyschogrod was unique in spending many long hours listening to my descriptions of the pilgrimage of destruction of my family and our people. He steadfastly stayed with me on this terrible journey through
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the gates of Hell, and I thank him for that, and for his tireless efforts in preparing the original transcript.
I am grateful to Professor Edith Wyschogrod who first brought my story to the attention of the editorial staff at State University of New York Press. I want to express my sincere thanks to Mr. James Peltz, senior editor at SUNYPress, for his interest and efforts in publishing my memoir.
Finally, my daughter, Diane Wyshogrod Zlotogorski, devoted all her strength and talent to editing my story. Ours was an unforgettable partnership. We read and reread, wrote and rewrote, laughed and cried together. All along, she never stopped insisting that I tell my story in my own words, in my own way.
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Prologue
Spring, 1942, in the Warsaw Ghetto, the third year of the war. Passover was approaching, and as always, it was time to prepare for the holiday of our deliverance. But we had nothing to prepare.
The evening of Pesach came. The whole family gathered in the kitchen, where the single window was sealed with rags so no light would shine outside and give us away. From the street we heard horrible screams. The Germans had entered the ghetto and there was a bloodbath. Starving children begging in the streets were being shot by the mighty German patrols.
We had placed the table, which usually stood against the wall, in the middle of the narrow room. It was covered with a white tablecloth, with the five-branched candelabrum standing in the center, a dead witness; there were no candles. My
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mother had set the table just as she always did, with our special Pesach dishes, white porcelain plates with a floral border. She had made sure that all the dishes and utensils had been properly kashered (prepared for Passover use). The Haggadahs lay in front of us.
My father sat at the head of the table, his back to the window. To his right sat my brother Pesach, and then my brother Shlomo. To my father's left sat my sister Esther Raizl, then my mother. I sat at the opposite end of the table in order to be able to help my mother at the big white-tiled stove to my right. The only light we had came from a single homemade carbide lamp, which gave off a flickering blue glow. In its faint light, the images moved as if in a devilish dance.
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