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Part I: Resistance and Culture
The adverse decision of the Board of Pardons terminates all hope of release by legal means.… The authorities are determined that I should remain in the prison, confident that it will prove my tomb. Realizing this fires my defiance, and all the stubborn resistance of my being. There is no hope of surviving my term. At best, even with the full benefit of the commutation time—which will hardly be granted me, in view of the attitude of the prison management—I still have over nine years to serve. But existence is becoming increasingly more unbearable; long confinement and the solitary have drained my vitality. To endure the nine years is almost a physical impossibility. I must therefore concentrate all my energy and efforts upon escape.
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28 Sam Dreen qtd. in W.J. Fishman, East End Jewish Radicals, 1875–1914 (London: Duckworth, in association with the Acton Society Trust, 1975), 254; Jean Maitron, Le Mouvement Anarchiste En France (Paris: F. Maspero, 1975), 1.145.
29 Isaac Klein, A Guide to Jewish Religious Practice (New York: Jewish Theological Seminary of America, 1979), 213. Bloch’s hypothesis is disputed, since the Kol Nidrei seems to predate Bloch’s history, but whatever its origins, the significance of the song in Jewish life was certainly cemented by experiences of persecution, all the more so after Bloch’s 1917 interpretation, in the wake of the Shoah. See also Margaret Olin, “Graven Images on Video?,” in Complex Identities: Jewish Consciousness and Modern Art, eds. Matthew Baigell and Milly Heyd (New Brunswick, NJ: Rutgers University Press, 2001), 47.
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