They were quickly recognised as Jews and denounced. They worked together with a hundred other Polish and Ukrainian girls. The sisters were eventually put to work in an aircraft parts factory in the vicinity of Hagen and Dortmund (Ruhr area). However, they had to change their plans during the journey, as they started to suspect that one of their fellow train passengers was about to denounce them. ![]() They originally arranged to arrive in one of the towns in Hesse to work for a local gardener and restaurateur. From Lvov, they set off for Leipzig, then for Kassel. They received help from a woman who allowed them to spend two or three nights at her place. Their documents were taken away, but they had enough money to pay for their freedom. However, they quickly fell into the hands of blackmailers on their way to Lvov. ![]() They believed they would be safe wearing floral head scarves, a typical head covering of village women. She left Zbaraż – together with her sister – disguised as a peasant. She described her wartime experiences in The Journey and in some of her short stories. ![]() She wanted to blend in with the throngs of forced labourers sent to different parts of the Reich. She obtained documents to go to work in Germany (thanks to the help of her father’s patient). In order to survive, Fink took a chance on the most paradoxical plan. The Germans exterminated almost the entire local Jewish community, successively deporting its members to the extermination camp in Bełżec. When the Germans seized the town (on 4 July 1941), she was studying at the Academy of Music in Lvov. Ida Fink was born in Zbaraż (today Zbarazh, Ukraine) into a wealthy, assimilated, secularised Jewish family. Until recently, her works were obligatory reading in Polish schools. She has received many awards, including the Special Prize of the Polish PEN Club, the Alberto Moravia Award, and the Yad Vashem Institute Award. Still, the works she did publish have been translated into over a dozen languages. Ida Fink’s output is not abundant – one novel: The Journey (Polish: Podróż, 1990), and collections of short stories titled A Scrap of Time and Other Stories (Polish: Skrawek czasu, 1987) and Traces (Polish: Ślady, 1996), The Garden That Floated Away (Polish: Odpływający ogród, 2002) and Spring 1941 (Polish: Wiosna 1941, 2009). Nevertheless, she still showed a great deal by naming her victims and depicting individual fates of people in particular circumstances. She never touched on the so-called ‘grand themes’ associated with the question of why the Holocaust happened. In an almost tangible way, they introduce readers to the world created by the Nazis – the anti-world, as literary critics describe it. They show snippets, scraps of reality carrying an intense accumulation of content, above all scenes of cruelty. Incidentally, they also have a special place in the entirety of literature about the Holocaust. Short stories were her literary form of choice. She described the experiences of Jews hiding on the so-called Aryan side, between the Polish population and the German occupier. Her research and writings examine representations of the Holocaust in art, culture, and memory Jewish studies anti-Semitism and representations of the Holocaust in literature.Ida Fink (1921–2011) is placed alongside such writers and witnesses of the Holocaust as Tadeusz Borowski, Primo Levi, Elie Wiesel, and Charlotte Delbo. Mary Catherine Mueller, Ph.D., teaches Holocaust Literature at Southern Methodist University in Dallas, Texas. This book is essential reading for anyone working on Holocaust literature, trauma studies, Jewish studies, Jewish literature, and the short story genre. Each chapter then looks at the stories in detail, including work by Ida Fink, Tadeusz Borowski, Rokhl Korn, Frume Halpern, and Cynthia Ozick. The book thoroughly introduces the genres of both the short story and Holocaust writing, explaining the key features and theories in the area. The main themes confronted in the book deal with the collapse of human relationships, the collapse of the home, and the dying of time in the monotony and angst of surrounding death chambers. The book highlights how the explosiveness of the moment captured in each short story is more immediate and more intense, and therefore recreates horrifying emotional reactions for the reader. The Holocaust Short Story is devoted entirely to representations of the Holocaust in the short story genre. Posted on 14 October 2019 by Karlijn Herforth
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