Jews From Israel

"Encounters with pain and sorrow made me want to write. When I was 6, I was already writing sad poems about cats and dogs that had been killed and soldiers that were dying in war. It’s in my DNA. (2014)"

"I've gotten used to so many symbolic interpretations of my work. Every fighting couple becomes a manifestation of the Israeli-Palestinian conflict. (2019)"

"When two people meant for each other refuse to accept their vocation, they sentence themselves to a life full of hatred and blame and everyone is to blame for their missed opportunity."

"It seems that wherever you go, your country follows you like a shadow. (2019)"

"Normally the characters I create are busy in some sort of crisis and, as a literary therapist, it is my job to help them overcome it. (2014)"

""you know how difficult it is to realize that some pains can’t be cured by love?”"

"Ida Fink's haunting stories-brief and unforgettable-lead us gently into the harrowing ordinariness of wartime Jewish Poland. Through the disturbing, painterly quiet of her art we see them live again, all those doomed, preoccupied, idiosyncratic friends, families, and lovers. Traces confirms it: Ida Fink is the Chekhov of the martyred."

"Her subtle and nuanced writing brings memory and imagination to bear on a traumatic past...In all of Fink’s work, the seemingly insignificant detail opens up a profound look at complexities of experience, memory, and motivation. As Fink excavates what she terms “the ruins of memory,” she brings to the forefront the act of memory itself, and the complicated relationship linking memory, imagination, and language. Fragments of the past that resurface in the present, Fink’s writing offers an unflinching and insightful look at wartime experiences and post-war memories. By turns poignant and tender, grim and sardonic, Fink’s lean and unsentimental prose conveys the profound and lasting effects of the Holocaust."

"I can think of no other writer on this subject who has domesticated it in quite the way Ida Fink has, conveying the banality of evil through ordinary details the smell of kasha cooking on a stove, mosquitoes buzzing, sunlight playing on water-and then suddenly, quietly, suffusing that banality with the taste of blood."

"She had already begun to resemble her mother, and would surely have relived her mother's life-a fine home in a small town, pretty children, pretty dresses, the annual trip to a health resort-if the sentence of time hadn't made tragic heroes even of those least suited to play the part."

"at the time, even eighteen-year-olds were nostalgic for the past."

"Ida Fink's work seems to me one of the best answers offered to the question of how the artist can confront the Holocaust. The delicate motions of consciousness are traced, in all their glorious subtlety, while the unspeakable forces of massed brutality come bearing down. Only a writer of the first rank could bring this off, and the world is lucky to have her."

"Ida Fink...was a master at infusing moments and gestures with the looming violence and death of the Holocaust...Fink worked on a small canvas but managed within the confines of few words to remind us how quickly life can forever move into the abyss."

"That day he was awakened by the sound of motors. It was gray outside and he couldn't see very much. But he knew it was the sound of trucks driving from T----- to the town. He recognized the big trucks by their heavy rumbling. He dropped onto the floorboards and after a while he could no longer hear the rumbling diesel engines, his heart was beating so loudly. He knew what they signified; he thought about how the last time, when he was still in the town, twenty trucks packed solid had driven out of there. "They're coming back for the rest of the living," he whispered to himself, "for the rest of the living.""

"The man made a small chink for himself in the outside wall of the barn; through this chink he could keep an eye on a scrap of the world: the meadow in front of the peasant's fenced-in yard and a strip of road."

"time brought all of us something quite different than what our childhoods promised."

"The execution itself did not take long; more time was spent on the preparatory digging of the grave."

"Once again, after the second action, a postcard turned up. It was written in pencil and almost indecipherable. After this postcard, we said, "They're done for." But rumors told a different story altogether-of soggy earth in the woods by the village of Lubianki, and of a bloodstained handkerchief that had been found. These rumors came from nowhere; no eyewitnesses stepped forward."

"Each day and night of those weeks could fill a book, if only the pen could take on this burden of despair and helpless loneliness."

"Some questions should not even be thought. The facts alone suffice."

"There was the square, thick with people as on a market day, only different, because a market-day crowd is colorful and loud, with chickens clucking, geese honking, and people talking and bargaining. This crowd was silent. In a way it resembled a rally-but it was different from that, too. I don't know what it was exactly. I only know that we suddenly stopped and my sister began to tremble, and then I caught the trembling"

"Only the end of the war brought us the truth about his last hours. The peasant who delivered the note did not dare to tell us what he saw, and although other people, too, muttered something about what they had seen, no one dared to believe it, especially since the Germans offered proofs of another truth that each of us grasped at greedily; they measured out doses of it sparingly, with restraint a perfect cover-up. They went to such trouble, created so many phantoms, that only time, time measured not in months and years, opened our eyes and convinced us."

"This time was measured not in months but in a word-we no longer said "in the beautiful month of May," but "after the first 'action,' or the second, or "right before the third.""

""I always wanted to paint. Always, before the war, that is. But I was thirteen then." ("Splinter")"

"There are thoughts that wither under the gaze of others, that are wounded by the breath of others, that the slightest disruption destroys. ("The Other Shore")"

"Again she reaches for the photograph, raises it to her nearsighted eyes, looks at it for a long time, and says, "You can still see the traces of footprints." And a moment later, "That's very strange." That's the direction they walked in. From the Judenrat down Miesna Street. She looks at the footprints, the snow, and the stalls once again. "I wonder who photographed it? And when? Probably right afterwards: the footprints are clear here, but when they shot them in the afternoon it was snowing again." The people are gone-their footprints remain. Very strange. "They didn't take them straight to the fields, but first to the Gestapo. No one knows why, apparently those were the orders. They stood in the courtyard until the children were brought." She breaks off: "I prefer not to remember..." But suddenly she changes her mind and asks that what she is going to say be written down and preserved forever, because she wants a trace to remain. "What children? What trace?" A trace of those children. And only she can leave that trace, because she alone survived. So she will tell about the children who were hidden in the attic of the Judenrat, which was strictly forbidden under pain of death, because children no longer had the right to live. There were eight of them, the oldest might have been seven or so, although no one knew for sure, because when they brought them over they didn't look at all like children, only like...ach...The first tears, instantly restrained. They heard the rumbling, a horse cart drove up to the yard, and on it were the children. They were sitting on straw, one beside the other. They looked like little gray mice. The SS-man who brought them jumped down from the cart, and said kindly, "Well, dear children, now each of you go and run to your parents." But none of the children moved. They sat there motionless and looked straight ahead. Then the SS-man took the first child and said, "Show me your mother and father." But the child was silent. So he took the other children one by one and shouted at them to point out their parents, but they were all silent. "So I wanted some trace of them to be left behind." ("Traces")"

"He had that horrifying clarity of vision that comes just before death."

"...everybody thinks I'm crazy, but I'm not. I know-every crazy person says that, but really, there's nothing wrong with my head. If only God would make me crazy! It's my heart that's sick, not my head, and there's no cure for that. ("Crazy")"

"The girl who had been crying was now sobbing louder; all of us were aware that every passing minute brought the train's thunder nearer, that any moment now we would hear death riding down the tracks. One girl cried "Mama!" and then other voices cried "Mama!" because there was an echo in the woods. ("Jean-Christophe")"

"It was near the end. They had already shot my sons and my husband. I remember that people were saying, 'How can she do it? Why should she save herself? For whom?' But you know, the life force has such strong roots, you can't tear it out. Even after those we love most have died. But you are young, what do you know about that? ("The Other Shore")"

"Father called us to his office, to the animated Mrs. Kasinska, who, once the price was agreed on, promised to make Kennkarten for us so we could be saved, so we would not be killed. ("The Garden that Floated Away")"

"Again we thought, let us survive-but now we were talking about the bombs and the rattling guns. (p237)"

"It was then-the old men of our town were already on their way and were passing their homes and the children and grandchildren hidden behind their windows-it was then that the door of one of those houses opened and we saw a woman running across the marketplace. She was thin, covered with a shawl, carrying her huge pregnant belly in front of her. She ran after those who were walking away, her hand raised in a gesture of farewell, and we heard her voice. She was shouting, "Zei gezint, Tate! Tate, zei gezint!" And then all of us hidden in the darkness began to repeat, "Zeit gezint," bidding farewell with those words to our loved ones who were walking to their deaths. ("*****")"

"One pebble had fallen; I awaited the avalanche. ("The Other Shore")"

"He stood between a lawyer's apprentice and a student of architecture and to the question, "Profession?" he replied, "Teacher," although he had been a teacher for only a short time and quite by chance. His neighbor on the right also told the truth, but the architecture student lied, declaring himself a carpenter, and this lie saved his life—or, to be more precise, postponed the sentence of death for two years."

"For the first time, I decided to break our most sacred rules, to let someone in on our secret. Perhaps I was too weak to bear one more blow alone. (p173)"

"The days were filled with a kind of double waiting: waiting for news of Jadwiga and waiting for the police. I made myself get through the time, as if I were trudging through a snow drift: step by step, hour by hour, not a moment of rest from the hard labor of waiting, except perhaps at night. (p184)"

"The only things we didn't discuss were the things that mattered most. Those we circled around, avoided, pushed away. (p135)"

"After he left, no one laughed out loud anymore. Quiet snickering, muffled by blankets, rippled through the room. And those laughing whispers frightened us more than the hysterical screams. (p93)"

"That was the Sunday when, as Anna and I parted at the train station, Walenty said the words I never forgot: "Why is she hugging and kissing you as if you two were never going to see each other again?" (p166)"

"I recall one image from those days of difficult waiting: the train in the meadow. It was on a day when a thunderstorm was brewing. Under the black, rain-swollen clouds we were raking hay in the fields. A long, serpentine train slithered through the meadow. Watching it disappear from sight, I felt—very clearly, very palpably--the proximity of danger and the futility of my desperate scrambling, my frantic efforts to break out of this closed circle. It was as if a metal band was suddenly squeezing my ribs. The world went quiet and dark. A thick, heavy silence fell. I dropped my rake on the ground, loosened my blouse. I was gasping for breath. (p185)"

"If the police didn't show up before then. Always that little word: if. (p178)"

"In the evening, in my spacious attic room, I wrote, "Will I find peace here? Peace. I yearn for peace." Out of habit, I hid the sheet of paper under the mattress, where it stayed, blank, except for that one line of fine handwriting at the top. (p228)"

"Less and less often we used the word "if"; more and more often we simply said "when," and wondered whether we would ever be like we used to be. Our fear of being found out or recognized had not gone away. It had only dug itself in deeper and was taking a little nap. Sometimes this fear would awaken suddenly and mistake a salesman for a secret policeman-like the cattle merchant who spoke to the baker behind closed doors. It would awaken suddenly and then fall back asleep. The more time passed, the deeper it slept. But even toward the end, after the British occupied the Ruhr Valley, when our fear should have disappeared completely-even then remnants of it still remained within us. They lingered in us until the very end, until that day-still far off-when two armored cars from General de Gaulle's army drove through the village, and Gottfried, the local party leader, climbed onto the roof of his house and jammed a flagpole into a crevice between the roof tiles-a flagpole with a white sheet attached. (p231-2)"

"Our fate suddenly came to a halt and hung there for a moment, suspended over the abyss it had been racing toward, hung there for a few minutes (five? six?) and then, just as suddenly, turned...This was why I had come here, just for that moment at the crossroads, that sudden turn, that circus trick performed by our fate. (p248-9)"

"They were saying that we had eaten up all our fruit while it was still green, and that we were right to do so, because who knows what would happen to us by winter. What they were saying was absolutely true. ("The Garden that Floated Away")"

"The moment when the silhouette of an SS-man appeared in the pointed arch of the pigsty and his hand carelessly brushed the apple tree, dried by the summer heat-that moment gave us a taste of suspension in that limbo between life and death. ("A Dog")"

"It was silent in the forest. There were no birds, but the smell of the trees and flowers was magnificent. We couldn't hear anything. There was nothing to hear. The silence was horrifying because we knew that there was shooting going on and people screaming and crying, that it was a slaughterhouse out there. But here there were bluebells, hazelwood, daisies, and other flowers, very pretty, very colorful. That was what was so horrifying-just as horrifying as waiting for the thundering of the train, as horrifying as wondering whom they had taken. ("Jean-Christophe")"

"And what will you say when they ask you about your parents?" "Mama's at work." "And Papa?" He was silent. "And Papa?" the man screamed in terror. The child turned pale. "And Papa?" the man repeated more calmly. "He's dead," the child answered and threw himself at his father, who was standing right beside him, blinking his eyes in that funny way, but who was already long dead to the people who would really ring the bell. ("The Key Game")"

"It suddenly seemed to me that the further away we got from Poland, the more complicated everything became-nothing was getting easier. We were dragging along all the obstacles we had overcome, and they were spawning new ones, and no sooner did we overcome these than they gave birth to even more. I looked at the young, pink-faced woman, and I could hear her musical, childlike laughter, and her voice, saying, "The important thing is to find a boyfriend." Would she give us away? (p66)"