From the Archives: Endpapers
Over the past two days, I have spend several hours struggling with and ultimately abandoning two different blog posts. I suspect the problem is me rather than the topics. So I’m going to queue up a few posts from the past and hope I come back with my brain fluffed up and ready to write.
First up, a book review from 2021:
I love this cover!
Let me start with the short version: Endpapers: A Family Story of Books, War, Escape and Home is one of the best works of non-fiction I’ve read in a while.
Here’s the long version:
In 2017, former Sports Illustrated journalist Alexander Wolff set out to explore his family’s German roots. The result is an extraordinary mixture of memoir, journalism, history, and an up-close look at one family’s complicated relationship with Nazi Germany.
Two biographical narratives stand at the heart of Endpapers. Wolff’s grandfather, Kurt Wolff, was a leading publisher of contemporary literature in Germany, publishing authors whose works would later be burned by the Nazis. ( Think Kafka, Thomas Mann, Günter Grass.) In 1933, the day after the Reichstag fire, he fled Germany with his wife Helene and took refuge in the United States, where they founded a new, equally influential, publishing house, which served as gateway for introducing American audiences to major European authors in translation, including Boris Pasternak’s Doctor Zhivago.* They left behind Kurt’s family from his first marriage, including Wolff’s father, Niko. Niko served in the German army, spent time in a POW camp and emigrated to America in 1948, with a little belated help from his father. He became a chemist with Dupont and assimilated to a degree Kurt never managed. But he never told his son about his wartime experience. And Wolff didn’t ask.
In the course of tracing their stories, Wolff discovers family secrets. He learns the intricacies of which family members escaped being labeled as Jewish by the Nazis and which did not. He realizes how deeply his grandmother’s family, the Mercks of Merck Pharmaceuticals, were involved with the Nazis. He takes a fascinating and horrifying detour into the tragedy of the 1972 Olympics in Munich.** And he eventually confronts the questions of guilt, shame and accountability that many Germans of his generation struggled with decades earlier and the larger questions of “moral inheritance” in general.
Ultimately, Endpapers is not only the gripping story of one family’s history, but an important exploration of our collective responsibility for the past.
* They also published Anne Morrow Lindbergh, which I find somewhat ironic given Charles Lindbergh’s political positions.
**It turns out that a security specialist hired by the Olympic Committee to “tabletop” the event predicted the murder of the Israeli Olympians in the Olympic Village with frightening accuracy in one of several worst-case scenarios. The committee chose not to act on them.
* * *
CODA: Endpapers is a prime example of why I always read the acknowledgements. Wolff buried some good stuff in the midst of the usual “thank-you” list, including a brief discussion of historical novels that shaped his feel for the period and this gem:
Nor could I have told this story without two other women close to Kurt and Niko, my grandmother Elisabeth Merck Albrecht and step-grandmother Helen Mosel Wolff. Their voices underscore how much this narrative, despite its patrilineal spine, owes the women of our family. It is a truism borne out to me repeatedly over years of writing about sports figures, many of them alpha males reluctant to reveal their vulnerabilities: all praise to the mothers and sisters and wives who dress the skinned knees, keep the scrapbooks, vividly recall the failures and thus better sense the full arc of a story.
Sing it, Mr. Wolff!
From the Archives: Beyond Belief
When I was working on my recent post on the display Americans and the Holocaust,I wanted to link to my review of Deborah E. Lipstadt’s Beyond Belief: The American Press & the Coming of the Holocaust 1933-1946. I couldn’t find one. I decided I must have failed to review the book, even though I regularly recommend it when I speak to groups about The Dragon From Chicago. Oops!
This morning, I sat down to redress that oversight. As a first step, I googled the book so I could find a bit more about Lipstadt. Right there on the front page of results was my review from 2020. Huh?
I don’t know how I failed to find it before,[1] but I think it is worth sharing again. As far as I’m concerned Beyond Belief remains the best book out there on the question of what the American public knew about the Holocaust and when they knew it.
I am currently taking notes on a pile of secondary source that I read over the last few months. I stuffed them full of sticky tabs as I went and moved on. On the surface, it’s not the most efficient way to do research, and I don’t always have the time to do it. But when time allows, I find it tremendously valuable. Coming back to the material a second time with a fresh eye and more information allows me to make connections that I didn’t make the first time. Re-reading is like re-writing as far as I’m concerned. It’s where the magic happens.
I just finished my second pass on Deborah Lipstadt’s Beyond Belief: the American Press and the Coming of the Holocaust, 1933-1945. The first time through it didn’t even occur to me to share it with you.[2] And yet, and yet: it is important, not only for understanding how Americans could have remained ignorant of the Holocaust at the time, but also as a starting point for the mindset that makes today’s charges and counter-charges of “fake news” possible.
The work had its roots in the classroom. After Lipstadt told her class that detailed information about the Nazi attempt to exterminate European Jews had been available to the Allies very early in the war, one of her students angrily responded “But what did the public—not just the people in high places—know? How much of this information reached them? Could my parents, who read the paper every day, have known?”
Lipstadt argued that a great deal of information was available. American reporters who were stationed in Germany until the United States entered the war had reported on the Nazis in detail, including information about Germany’s persecution of the Jews.
The student wasn’t convinced. “No,” he said. “I can’t believe people could have read about all this in their daily papers.”
Beyond Belief began as Lipstadt’s attempt to prove that she was right. Her final conclusion, which she offers to the student in her acknowledgements: “I was right, but so were you.”
The book consists of a detailed look at who reported what and when, what their editors did with it after they reported it,[3] and how readers responded. Some of the most powerful portions of the book, and the ones that I think are most important for us today, discuss what Lipstadt describes as “the barriers to belief.” The most critical of these was a legacy from World War I. Stories of German atrocities were reported in the first World War that later proved to be false. The result was an attitude of what journalist and historian William Shirer called “supercynicism and superskepticism” about reports of atrocities. As a group, Americans said “Fool me once, shame on you. Fool me twice, shame on me.” unfortunately, this time the stories were true.
Be warned, Beyond Belief is not an easy read. Lipstadt’s style is clear, but her work is dense with data. Nonetheless, I found it a worthwhile read for reasons well beyond my current research.
[1] Stressed, stretched, and tired perhaps.
[2] I don’t normally discuss purely academic works of history here in the Margins. They have a different purpose and a different audience and occasionally are just plain hard to read.
[3] Important stories often got buried deep in newspapers. Editors (and sometimes reporters) added seeds of doubt to the reported stories. And some papers didn’t run the stories at all.
History on Display: Suffs: The Musical
Earlier this week, a friend and I attended a performance of Suffs, Shaina Taub’s award-winning musical about the women’s suffrage movement, which I’ve wanted to see ever since it opened off-Broadway in 2022.
The short version? Suffs did not disappoint. I laughed. I cried. I cheered. So did everyone else as best I could tell. There was one moment when much of the audience gasped.[1]
Suffs :The Musical begins in 1913,[2] just as radical young suffragist Alice Paul (1885-1977)[3] is about to divide the suffrage movement with her demands for more aggressive action, including an unprecedented suffrage march in Washington on the eve of Woodrow Wilson’s first inauguration. Taub follows the movement through the final passage of the 19th Amendment in 1920. Paul is the central character, set in counterpoint to and often conflict with Carrie Chapman Catts (1859-1947), then 54 years old, successor to Susan B. Anthony as head of the National American Women’s Suffrage Association, and later the founder of the League of Women Voters. The two leaders embody two generations of suffragists with very different styles and strategies.
That description may make Suffs sound a little dull. It is anything but. Taub has built a powerful, often funny, sometimes heartbreaking historical drama about the suffrage movement. Paul and Catts are surrounded by a coterie of brilliantly characterized historical suffragists, including a fiery Ida B Wells, each of whom dominates the stage at least once over the course of the show, bringing to life the divisions within the movement. “Why are you fighting me? I’m not the enemy” is a powerful refrain between different members of the movement that Taub returns to again and again. Woodrow Wilson, who is in fact the enemy they are all fighting is pale and unenergetic, by contrast—clearly a deliberate choice.
Suffs ends with both triumph and the recognition of work left undone: making it a perfect show to attend as part of the Semiquincentennial.[4] Definitely worth seeing if it comes your way.
[1] Nope, not going to tell you. Just because we all know how the story ends doesn’t mean I’m willing to spoil surprises along the way. Which makes writing this harder than it would be if I felt free to share delightful moments.
[2] Sixty-five years after the suffrage movement began at the Seneca Falls convention—a fact that Taub skillfully shares with the audience in the opening moments of the show in the form of a speech by long-time suffragist Carrie Chapman Catts. It’s a critical point: the question of waiting for change and not being willing to wait anymore is a theme that Taub returns to over and over again.
[3] I must admit, I was stunned to learn that Paul lived and worked well into my lifetime. Progress in women’s rights remains relatively new, and fragile.
[4] Can anyone spell that right on the first try?