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I think they should read about the people who did it, too. The real, everyday people, you know. Not just Hitler and Eichmann and whoever. All the underlings, I mean. The students should learn about their lives, the ones who really did the killing.Seiffert writes about the "real, everyday people", about the ones who didn't actually "do it". She writes chronologically, from Helmut's birth in 1921 to Micha living in Germany in 1997, and widens the time-frame with each story.
Helmut is unable to join up because of his weak arm--his parents become ashamed of him in Nazi Germany. Yet by taking part in the last-ditch stand against the Russian invasion of Berlin in 1945 he is at last happy. His story, represented through his tiny photographer's lens, is indicative of his own narrow vision. Seiffert widens her view with Lore, and her encounter with Thomas, a young man who has blue-smudged numbers up his arm and (false) documents saying he is Jewish. As a well-off 12-year-old, whose father was in the Nazi Party, Lore too is at first oblivious to the effects of the war on others. She tries to believe that the pictures the Allies pin up of the Jews in the camps--whether alive or dead--are American actors. Micha's story, raking over the past and with the advantage of hindsight, well-documented history and the public German admission of guilt, feels the most raw and truthful. Seiffert writes delicately and plainly, making clear that it is not just the Jewish or Nazi experience of the Second World War which is valid, but that a whole country was involved, and is still affected by it. The Dark Room reminds us again that every person's experience is unique, and every person's heritage (whether German, Byelorussian, American or Jewish, Christian or atheist) will always be unique to them. --Olivia Dickinson --This text refers to an out of print or unavailable edition of this title.
This is a collection of three fictional stories of young people's experiences of the War and its aftermath. The first two portray children who seem far too young and innocent to be responsible for war-time events, and yet who were/are forced to fight for their lives, for survival, whilst also trying to comprend the role of their parents, and those they love, in all the atrocities.
In the second tale, Lore progressively realises that love and innocence do not go hand in hand. She is ultimately obliged to link the imprisonment of her own parents to the guilt of the Nazis. Trust, love and understanding take on a whole new dimension for her, and for us as readers.
Micha, the protagonist of the final story, did not live through World War II. The luxury of a generation gap enables him to actively pursue his obsessive interest in his grand-father's past without pain, until he, like Lore, has to face the music. He has to understand that the grandpa he loved was not perfect. He could easily hate a stranger, but with those dear to us, that hatred and disgust is mixed so strongly with love that we are forced to reassess our emotions and our judgements of others.
This book is one more tribute to the open-mindedness of the German nation. From the outside, at least, the Germans seem to have tried their utmost to take responsibility for the evils they committed in World War II. They aimed to face mistakes and to learn from them. We have not all been so brave and so painfully honest, and the writing of Rachel Seiffert reflects what Germany has learnt in the most positive, yet deceptively simple, way we could hope for.
The character of Micha in particular I found most absorbing. His insistence on finding out about the possible guilt of his Grandfather, at the expense of the feelings of his family and impact on his pregnant partner, was a combination of frustrating and commendable. The view that the entire nation was guilty, and in many ways we are still guilty, rang true.
A marvellous read.
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