The Unwritten Diary Of Israel Unger

At the beginning of the Nazi period, 25,000 Jewish people lived in Tarnow, Poland. By the end of the Second World War, nine remained. Like Anne Frank, Israel Unger and his family hid for two years in an attic crawl space. Against all odds, they emerged alive. Now, after decades of silence, here is Israel’s “unwritten diary.” Nine people lived behind that false wall above the Dagnan factory in Tarnow. Their stove was the chimney that went up through the attic; their windows were cracks in the wall. Survival depended on the food the adults leaving the hideout at night were able to forage. Even at the end of the war, however, Jewish people emerging from hiding were still not safe. After the infamous postwar Kielce pogrom, Israel’s parents sent him and his brother as “orphans” to France in a program called Rescue Children, a Europe-wide attempt to find Jewish children orphaned by the Holocaust. When the family was finally reunited, they lived a precarious existence between France—as people sans pays—and England until the immigration papers for Canada came through in 1951. In Montreal, in the world described so well by Mordecai Richler, Israel’s father, a co-owner of a factory in Poland, was reduced to sweeping factory floors. At the local yeshiva (Jewish high school), Israel discovered chemistry, and a few short years later he left poverty behind. He had a stellar academic career, married, and raised a family in Fredericton, New Brunswick. The Unwritten Diary of Israel Unger is as much a Holocaust story as it is a story of a young immigrant making every possible use of the opportunities Canada had to offer.

Persecuted as a Jew, both under the Nazis and in post-war East Germany, Johanna Krause (1907–2001) courageously fought her way through life with searing humour and indomitable strength of character. Johanna Krause Twice Persecuted is her story. Born in Dresden into bitter poverty, Krause received little education and worked mostly in shops and factories. In 1933, when she came to the defence of a Jewish man being beaten by the brownshirts, Krause was jailed for “insulting the Fürer” After a secret wedding in 1935, she was arrested again with her husband, Max Krause, for breaking the law that forbade marriage between a Jew and an “Aryan.” In the years following, Johanna endured many atrocities—a forced abortion while eight months pregnant and subsequent sterilization, her incarceration in numerous prisons and concentration camps, including Ravensbrück, the notorious women’s camp near Berlin, and a death march. After the war, the Krauses took part enthusiastically in building the new socialist republic of East Germany—until 1958, when Johanna recognized a party official as a man who had tried to rape and kill her during the war. Thinking the communist party would punish the official, Joanna found out whose side the party was on and was subjected to anti-Semitic attacks. Both she and her husband were jailed and their business and belongings confiscated. After her release she lived as a persona non grata in East Germany, having been evicted from the communist party. It was only in the 1990s, after the reunification of Germany, that Johanna saw some justice. Originally published as Zweimal Verfolgt, the book is the result of collaboration between Johanna Krause, Carolyn Gammon, and Christiane Hemker. Translated by Carolyn Gammon, Johanna Krause Twice Persecuted will be of interest to scholars of auto/biography, World War II history, and the Holocaust.

Internationally acclaimed author Carolyn Gammon conjures a kind and unflinching portrait of her mother’s dementia—ultimately revealing the love, joy and life which remain even as memory and past fade. Learning to speak in maybes—perhaps I told you? Were you there?—and to let a mother direct memory as memory vanishes, Gammon threads a path through time, bringing us into the heart and heat of a mother-daughter relationship that is changing as each day passes. That one day, may not offer “the pleasure of a daughter’s company, but only that of a warm hand.” Each poem reveals the intimacy of this mother-daughter relationship, thrusting the reader into their dialogue and communication. At the end of each poem is a quote from Gammon’s mother, often eerily insightful, reflecting her own youthful ambition to write: “I am still clinging to the vine” and “I find forgetting easy.” Kind, often funny, and always honest, this collection is for anyone who has loved someone who is beginning to forget; has forgotten; but will not be forgotten. These words offer an archive; a testament to the memory that lives in books—and a reminder that memory loss is not an insurmountable barrier to living a good life.

Books on intercultural communication are rarely written with an intercultural readership in mind. In contrast, this multinational team of authors has put together an introduction to communicating across cultures that uses examples and case studies from around the world. The book further covers essential new topics, including international conflict, social networking, migration, and the effects technology and mass media play in the globalization of communication. Written to be accessible for international students too, this text situates communication theory in a truly global perspective. Each chapter brings to life the links between theory and practice and between the global and the local, introducing key theories and their practical applications. Along the way, you will be supported with first-rate learning resources, including: • theory corners with concise, boxed-out digests of key theoretical concepts • case illustrations putting the main points of each chapter into context • learning objectives, discussion questions, key terms and further reading framing each chapter and stimulating further discussion • a companion website containing resources for instructors, including multiple choice questions, presentation slides, exercises and activities, and teaching notes. This book will not merely guide you to success in your studies, but will teach you to become a more critical consumer of information and understand the influence of your own culture on how you view yourself and others.

Bird-Bent Grass chronicles an extraordinary mother–daughter relationship that spans distance, time, and, eventually, debilitating illness. Personal, familial, and political narratives unfold through the letters that Geeske Venema-de Jong and her daughter Kathleen exchanged during the late 1980s and through their weekly conversations, which started after Geeske was diagnosed with Alzheimer’s disease twenty years later. In 1986, Kathleen accepted a three-year teaching assignment in Uganda, after a devastating civil war, and Geeske promised to be her daughter’s most faithful correspondent. The two women exchanged more than two hundred letters that reflected their lively interest in literature, theology, and politics, and explored ideas about identity, belonging, and home in the context of cross-cultural challenges. Two decades later, with Geeske increasingly beset by Alzheimer’s disease, Kathleen returned to the letters, where she rediscovered the evocative image of a tiny, bright meadow bird perched precariously on a blade of elephant grass. That image – of simultaneous tension, fragility, power, and resilience – sustained her over the years that she used the letters as memory prompts in a larger strategy to keep her intellectually gifted mother alive. Deftly woven of excerpts from their correspondence, conversations, journal entries, and email updates, Bird-Bent Grass is a complex and moving exploration of memory, illness, and immigration; friendship, conflict, resilience, and forgiveness; cross-cultural communication, the ethics of international development, and letter-writing as a technology of intimacy. Throughout, it reflects on the imperative and fleeting business of being alive and loving others while they’re ours to hold.

Working Memory: Women and Work in World War II speaks to the work women did during the war: the labour of survival, resistance, and collaboration, and the labour of recording, representing, and memorializing these wartime experiences. The contributors follow their subjects’ tracks and deepen our understanding of the experiences from the imprints left behind. These efforts are a part of the making of history, and when the process is as personal as many of our contributors’ research has been, it is also the working of memory. The implication here is that memory is intimate, and that the layering of narrative fragments that recovery involves brings us in touching distance to ourselves. These are not the stories of the brave little woman at home; they are stories of the woman who calculated the main chance and took up with the Nazi soldier, or who eagerly dropped the apron at the door and picked up a paintbrush, or who brazenly bargained for her life and her mother’s with the most feared of tyrants. These are stories of courage and sometimes of compromise— not the courage of bravado and hype and big guns, but rather the courage of hard choices and sacrifices that make sense of the life given, even when that life seems only madness. Working Memory brings scholarly attention to the roles of women in World War II that have been hidden, masked, undervalued, or forgotten.

Scratching River braids the voices of mother, brother, sister, ancestor, and river to create a story about environmental, personal, and collective healing. This memoir revolves around a search for home for the author’s older brother, who is both autistic and schizophrenic, and an unexpected emotional journey that led to acceptance, understanding and, ultimately, reconciliation. Michelle Porter brings together the oral history of a Métis ancestor, studies of river morphology, and news clippings about abuse her older brother endured at a rural Alberta group home to tell a tale about love, survival, and hope. This book is a voice in your ear, urging you to explore your own braided histories and relationships.