Читать книгу Anne Frank - Ronald Wilfred Jansen - Страница 5

Annelies Marie ‘Anne’ Frank (hereafter referred to as Anne) has come to symbolise the Holocaust, and her diary has conquered the world. A plethora of biographies and books containing historical photos have been published on her life. The travelling exhibition Anne Frank—A History for Today ¹ is the most visited Dutch exhibition outside of the Netherlands. The exhibition Anne Frank: Her Life in Letters (2006) ² depicts her life in hiding with an impressive, panoramic video presentation of excerpts from her diary. Less well known to the public is the physical trail of Silent Witnesses, which serves to remind us of Anne in the (urban) landscape.

My interest in the persecution of Jews in general and of Anne in particular came about gradually. From 1994 to 1996, I participated in international voluntary projects through the Dutch volunteer foundation SIW—projects in the former concentration camps Sachsenhausen and Dachau ³ located in Germany. I wanted to enter into a dialogue with young adults from different countries. I was edging towards the second half of my thirties, whilst most of the others were in their early-twenties. Fortunately, one is never too old to learn.

We discussed Nazism and the dangers of neo-Nazism, with all of us horrified by the stories told by former camp prisoners and members of the resistance. A number of historians led discussions in the presence of local residents. Fortunately, some of them had the courage to face up to this black page in German history. Many (elderly) Germans, however, remain unwilling to face their past. We also participated in excavations and other activities; such activities were intended to foster mutual understanding, but with the secondary aim of facilitating fun together.

What struck me during these activities was the contrast between the current silence in the former concentration camps, combined with the hardships of the prisoners, on the one hand, and the harsh shouts of the camp guards during the war, on the other. I was struck by the cruelty of the Nazi regime. Especially shocking were the lampshades made of human skin. Some of the younger participants were unable to deal with the horrors of the Nazi regime. American army videos displayed shocking images of the corpses of former prisoners in Buchenwald and other camps.

I visited the Achterhuis (the Secret Annex) for the first time in 2001. Visitors tend to be deeply impressed when they visit the Secret Annex, and I was no exception. I could feel the tension of the people in hiding, and I quickly realised Anne had become caught in the Nazi web: she had been snatched away from her usual environment. Anne had a keen interest in culture, religion, science and social matters, and was always concerned with the welfare of others. As a German refugee, she felt at home in Amsterdam and was eager to reach maturity. Her murder just because she was Jewish leaves a very bitter taste in my mouth. Her life was nipped in the bud.

I felt the urge to record Anne's life, not by means of a biography or a book containing old photographs—after all, so many of those have already been published—but in a different manner.

In 2008 and 2009, I went on a memorial tour, visiting Anne’s various places of residence (hereafter referred to as main locations): her addresses in Frankfurt am Main and Aachen, the Merwedeplein in Amsterdam, the Secret Annex in Amsterdam where she went into hiding, and the Westerbork, Auschwitz-Birkenau and Bergen-Belsen concentration camps where she was imprisoned. ⁴ I converted this historical journey into a (photo) book. ⁵ The publication of the photo book proceeded with difficulty. The Anne Frank Fonds in Basel only permitted the use of five of Anne’s quotes. ⁶ I wanted to publish the photo book in 2009, the year Anne would have celebrated her 80 ^th birthday. Since I was unable to find a regular publisher for the book, I decided to publish it myself. I quickly made a selection of photographs and edited them with the use of Photoshop; I purchased historical photographs from a stock agency; I did the layout myself and published the book in 2009 through a POD ⁷ publisher. For the English version of the book, I had to pay Random House ⁸ a (modest) amount of money because I had used a few quotations from Anne’s diaries. Unfortunately, however, my attempts at obtaining subsidies were fruitless.

Nevertheless, I was not put off. I positioned several historical photographs next to current ones taken from the same perspective, which painfully revealed the void left behind by Anne. Many people thought this approach was challenging, and consequently wanted to bring my photo book to the attention of the general public. ⁹ Hanna ‘Hanneli’ Elisabeth Goslar (born in 1928, hereafter referred to as Hanneli) was a friend of Anne’s and liked my photo book.

The Anne Frank Stichting (The Anne Frank House) noted my original approach ¹⁰, and the Anne Frank Fonds in Basel remarked that my photographs bridge the gap between past and present. ¹¹ In spite of this, however, neither organisation was prepared to publish my book ¹², which was a great pity. I decided, however, that I would not be deterred by any of this, and would add a final sequel to the photo book and booklet.

This book will be my last work on Anne, and it will be a supplement to the existing historiography of Anne. I wrote this book as a result of getting to know more about the main locations and the surrounding environment of Anne’s residences, her hiding place, and various locations she liked to visit.

Another reason for writing this book is that time is running out for people who knew Anne to tell their story. In a similar vein, the book pays specific attention to the reasons behind why the places that remind us of Anne are disappearing.

The major monuments erected after the war, which commemorate Anne, the war and the persecution of the Jews, are mentioned in this book but not elaborated upon since its central theme is Anne’s residential environment. These monuments serve to illustrate how Anne, along with other war victims, is being commemorated.

Various sources were consulted during the course of writing this book. Since the book is being financed by private funds, it does not include any photographs of Anne purchased from stock agencies or elsewhere. ¹³ Ad Tiggeler ¹⁴ allowed me to use his collection of old postcards to illustrate this book. It contains excellent images, some 1 less well-known, including photographs of De Wolkenkrabber (‘The Skyscraper’, a block of flats looking out on Merwedeplein, Amsterdam). My gratitude also goes out to Jos Wiersema, who allowed me to use historical photographs from his collection ¹⁵; images that go beyond the usual pictures.

Some materials from the photo book have been reused in this publication, supplemented by current photos of a number of places Anne visited, which I learnt of in 2010 and 2011 and had overlooked when making the photo book.

Anne maintained a scrapbook with photographs. Some of the places depicted in these photographs have not been identified exactly, even if they show Anne in front of a clearly recognisable background. Following the war, so much attention went to publishing The Diaries that not all old pictures were researched adequately with regard to their origin. The bitter fruits of this are now being harvested: the location of some of the buildings can no longer be established with certainty. Fortunately, however, I was able to recognise some of the places in these photographs when I was physically tracing Anne’s footsteps.

For other photographs, however, I have not been able to establish location. One black-and-white photograph ¹⁶ shows an informal yet slightly uneasy gathering of three teenagers looking into the camera. Both boys are wearing neat suits that are in sharp contrast with their decrepit environment of bare vegetable gardens and unpainted sheds.

The youngest boy is wearing clogs. A girl in a light dress gives the photographer a rather surly look whilst pulling one of the cords on her cardigan. This girl is Anne. The two boys standing next to Anne are Herbert Wilp (1928-2002, hereafter referred to as Herbert) and Hermann Wilp (1925-1945, hereafter referred to as Hermann), who came from Neuwied near Koblenz. Following the Kristallnacht ¹⁷, Herbert and Hermann fled to Amsterdam. It is unknown where this picture was taken or what relationship existed between Anne and these boys.

Prior to travelling across Anne’s locations, I studied the relevant literature in order to garner insight into what has been written about 1 Anne and where she stayed. Many books have been written about Anne. Melissa Müller’s biography is well-structured and contains a wealth of background information on Anne. ¹⁸ The level of other writings differs greatly ¹⁹, with practically all writers elaborating on others’ themes.

The biography by Carol Ann Lee (hereafter referred to as Carol) contains several mistakes. ²⁰ A meticulous description of Amsterdam locations reminiscent of Anne may be found in Bob Polak’s book Naar buiten, lucht en lachen! Een literaire wandeling door het Amsterdam van Anne Frank [Outside: fresh air and laughter! A literary walk through Anne Frank’s Amsterdam] (Amsterdam, 2006). His book was of great use to me. My book also contains information published before, supplemented by new facts about Anne’s places of residence and presented from a new perspective.

The Letters ²¹ and The Diaries ²² Anne wrote are the main primary sources for reconstructing Anne’s day-to-day environment, and are influenced by the opinions and interpretations of Anne, who, in turn, was influenced by her upbringing, environment and the spirit of her time. There is no information on how the others experienced the hiding: with the exception of Otto Frank (1889-1980, hereafter referred to as Otto), none survived the extermination camps. In spite of the chaotic circumstances in the Secret Annex during the fatal raid on August 4, 1944, excerpts of Anne’s diaries remained intact. Many of the letters Anne wrote whilst living at Merwedeplein have undoubtedly been lost.

Margot kept a diary in the Annex ²³ that most probably also has been lost, or perhaps Margot’s diary is still hidden somewhere under the floorboards of the building at 263 Prinsengracht, in an old forgotten attic or orphaned in an archive that has escaped inventory. Who knows? New information about Anne still occasionally crops up from hidden places. In 2008, one of Anne’s postcards turned up in a gift shop in Naarden, the Netherlands ²⁴, along with a picture of a former admirer. ²⁵ The YIVO Institute for Jewish Research ²⁶ discovered some 1 letters by Otto, revealing that he wanted to flee the Netherlands with his family.

The period from December 6, 1942 up to December 22, 1943 ²⁷ is absent from the A version of The Diaries. The A version is the first version of The Diaries; the B version is the version rewritten by Anne herself, which she planned to publish in the form of a novel after the end of the war. The B version was never completed, probably because Anne was arrested, and ends on March 29, 1944. I prefer to take the A version, written by Anne between June 12, 1942 and August 1, 1944 as a point of reference because it is the uncensored version in which Anne wrote down her thoughts unreservedly and without consideration of her audience. In some places, the B version contains information that is lacking in the A version.

Otto contributed to a C version of The Diaries: The 1947 Dutch edition of Het Achterhuis [The Secret Annex], published by Contact, from which certain sensitive passages were removed by Otto ²⁸. The academic publication of The Diaries ²⁹, meant to scientifically refute the accusations by far-right extremists who claim The Diaries to be a forgery ³⁰, contains sensitive extracts written by Anne, which Otto had systematically kept out of previous publications.

A booklet containing difficult words that Anne wrote down ³¹ and the card catalogue of books ³² kept by Anne and Margot have not been found. An accounts book in which Anne noted down texts that appealed to her whilst she was in hiding has been preserved: the Mooie Zinnenboek , her Book of Beautiful Sentences (Amsterdam, 2004). (Please refer to the Bibliography section, Translator’s Note, for more information on English editions and translations of titles in the). Some separate notes from the Secret Annex by Anne were preserved, and she also wrote stories, and in 1944 worked on a novel whilst hiding in the Annex. These were published in Dutch as Verhaaltjes, en gebeurtenissen uit het Achterhuis. Met de roman in wording Cady’s leven (Amsterdam, 2005), and in English as Tales from the Secret Annex. Including her Unfinished Novel Cady’s Live (Halban Publishers, 2010). The stories this book contains are partly anecdotes from the Annex, partly made-up fairytales and partly derived from 1 memories of the Jewish grammar school she attended, the Joods Lyceum. Both her stories and her prospective novel contain autobiographical elements: ‘It isn’t sentimental nonsense for it’s modelled on the story of Daddy’s life.’ ³³ Anne does not elaborately describe her residential environment in her writings, presumably because it was a given to her—just like it is a given for us that we are free to walk down the street. One only notices that something is missing when it is gone. It was the same for Anne. During her period in hiding, she became more aware of the value of nature, fresh air and having some elbow room, and she described the chestnut tree, the birds and the sky above Amsterdam. Comparably, Anne did not write about her residential environments in Aachen and Frankfurt in any detail; she lived there only very briefly, and may not have remembered much about those places of her early childhood. During her hiding period, Anne mainly felt Dutch and probably did not feel any need to be reminded of her native country.

I was unable to obtain permission to consult the Frank family archives. I am unsure as to whether this would have proven useful; the exhibition Anne Frank—Her Life in Letters in the Amsterdam Museum in 2006 ³⁴ did not lead to new insights into Anne and her places of residence. Moreover, some other authors have already conducted extensive research in the Anne Frank Stichting archives.

I was unable to find specific sources, such as postcards or letters, Anne may have written in one of the concentration camps. She may have been prevented from writing—or perhaps she came to lack the strength. Many of the materials from the camps in which Anne stayed have been lost to posterity, meaning that her life in the camps can only reconstructed through the eyewitness accounts of others.

I sought contact with people who (superficially) knew Anne and who were able to tell me about locations she had visited but did not mention in her writings. Whilst travelling along Anne’s locations generally went fine, the contact with her former friends and acquaintances was more difficult. At times, their memory failed them, and they would make contradictory statements. Asking additional question occasionally led to irritations.

Even today, some people continue to argue about who was or was not a friend of Anne’s. ³⁵ Some people who knew Anne and Margot are tired of the war and the attention that goes out to Anne. ³⁶ Some do not like to be reminded of the loss of their family.

Some who were born during or shortly after the war are too young to remember anything concrete about that time. For many survivors, a visit to their old neighbourhood, the Rivierenbuurt, is very difficult. Hilde Goldberg-Jacobsthal (born in 1925, hereafter referred to as Hilde) had not been to her neighbourhood since 1943. ³⁷ Sometimes a person’s health prevented me from having any contact; they understandably wanted to be left alone. Unfortunately, I had not been able to contact Hermine ‘Miep’ Santruschitz (1909- 2010) before she passed away. Miep was the last surviving helper of the people in the Annex.

In 2010, I had a telephone conversation with Anne’s friend Hanneli. This led to some new information on Anne’s places of residence in Amsterdam. I am grateful to her and to the many others who helped me, such as Bernard ‘Buddy’ Elias (born in 1925, hereafter referred to as Buddy), all of whom are mentioned in the ‘Special thanks to…’ section of this book.

Various websites offered me the opportunity to publish a general request for information about Anne and her residential environment. ³⁸ Through the ‘Zuidelijke Wandelweg’ ³⁹ and ‘Anne in de buurt’ ⁴⁰ community projects, I was able to reach people who did not belong to Anne’s direct circle of friends but who did have important information on her previously unknown places of residence. ‘Zuidelijke Wandelweg’ and some other websites contain valuable information on the Rivierenbuurt, where Anne spent many years of her life.

Several German papers ⁴¹ only wanted to publish my request for sharing information about Anne if I paid them for it, which I declined because Anne is not a commercial product to me. What she left us is public cultural heritage.

Persons who have (in)direct experience of the war in Amsterdam provided me with a large amount of useful information about the war. ⁴² Karel N. L. Grazell (born in 1928, hereafter referred to as 1 Karel), who became one of Amsterdam’s municipal poets, and Max C. van der Glas (born in 1938, hereafter referred to as Max) ⁴³, who is a writer and Holocaust survivor, did not know Anne in person, but they do know Amsterdam and its history extremely well. ⁴⁴ I reached people through the internet whom I would not have been able to reach through any organisation. I would gather information on the architecture of buildings and neighbourhoods in Amsterdam mainly from websites of the Nederlands Architectuurinstituut (NAI, the Netherlands Institute of Architecture) ⁴⁵, Gemeente Amsterdam Bureau Monumenten & Archeologie (BMA, the Amsterdam municipal agency for monuments and archaeology) ⁴⁶ and Joods Amsterdam (Jewish Amsterdam). ⁴⁷ Some elements that have disappeared from our landscape for good can be reconstructed virtually. I was fortunate enough to see Anne’s chestnut tree ‘live’ from the Annex before it was blown down in 2010, but it can also still be admired in The Secret Annex Online. ⁴⁸ The Secret Annex Online also served as a reminder during my reconstructions, and I would highly recommend it to anyone who has difficulty walking and would otherwise not be able to visit it.

I did not find any local papers that the Franks may have read during the war. Presumably, local papers were not distributed during WWII because paper was scarce and the strict German censorship suppressed their publication. Anne does not mention the Amstelodamum magazine that appeared during the war. However, an entrepreneurs’ magazine dated January 11, 1940 states that Anne solved their puzzle and could collect her prize. ⁴⁹ However, consulting archives, reading, interviewing people or looking up information on the internet did not suffice for the purposes of this book. Travelling deepened my connection with Anne’s environment, the distance between her places of residence, the size of her living space, and the elements reminiscent of her in the (urban) landscape. I could only experience the void Anne left behind by perceiving the world from her point of view.

I visited Amsterdam and Aachen again in 2010 and 2011 for the purpose of gathering additional information. The persons and 1 organisations involved provided permission to visit and record the locations inside and out, and I am very grateful to them.

Hopefully, the reader will be inspired to visit Anne’s places of residence and share their experiences with others so that more people will take up an interest in Anne’s cultural heritage, which extends beyond the Secret Annex, her diaries, and old photographs.

This book will hopefully contribute to the inventory and the preservation of the monuments that remind us of Anne. Private individuals, cultural institutions, research institutes and the government can contribute to this. A great deal of information about Anne is scattered, and there are things we still do not know.

It is important that the study of Anne’s cultural heritage stimulates research into the physical traces left behind by other war victims so that they all get the attention they deserve ⁵⁰; after all, Anne is just one of millions of Holocaust victims.