Category Archives: I Truly Lament

Slave

Published in The Del Sol Review

Winter 2012 #18   The “Everlasting Delays” Issue

From “I Truly Lament” a collection of short stories to be published 2012

by Mathias Freese

The most appalling defeat in the camps was the absence of beauty. Regimentation was all, an artist without a palette.

Animal life had fled. Occasionally an errant bird chirped its creed and flew away. Butterflies stayed away, no flora to cling to. If you think rats, vermin, maggots and roaches are beautiful, it was Eden. Uniformity in everything was the rule. Barracks laid out in grids, barbed wire in rectangular enclosures. Even the circle was barred from the camp, for it was elusive to the German mind. Everything was squared off, nothing rounded. We lined up for morning roll call, the Appell. The guttural voices of the German guards barked out the same repetitive orders. Geometry was god, diversity Satan’s whore, opinion a mother’s bastard, and questions a whore’s tease. Order above all. To my ears, the German gutturals obeyed in aural allegiance the mind set of their speakers. When I fill the ice cube tray, I pause, knowing how well the Germans viewed us, frozen cubes all lined up.

I remember well digging a two—foot—wide trench, supposedly as a latrine. The Germans had us constantly digging as if the work itself was useful, in some perverse way a contribution to hygiene. It was a lie. It took some time after being freed to grasp the subtle cruelty behind our orders.

As we dug we were sapped of energy. Many of us died on the spot, guards either flailing us with whips, kicking us, whipping their rifle butts about our backs. It was as if we had failed them, as if Jews couldn’t do hard labor. No use reminding them we were good at pyramid building or putting up the Coliseum in Rome. No Jew could speak to a German — ever.

Many of us viewed the trenches as a necessary evil. The intent was to work us to death, as the Germans weren’t concerned about our hygiene. The task was, in effect, to wear us out to a point that we evolved into Muselmanner, the stage before the ovens. We weren’t being harvested. We weren’t contributing to a greater Germany. We were expendable. In the very routinization of our efforts was the very plan for our extinction.

“Work makes you free” was the carrot and the stick, but no prisoner ever really believed that after a few weeks in the camp. After a while, none of us could think clearly, for we lacked the necessary proteins in our body to make tissues connect and channel clear thinking.
For some of us, the trench—digging became compartmentalized. We split ourselves right down the middle. Each shovel of dirt fed personal dreams or delusions — hopes and aspirations while the next shovelful served the Reich. If we were casual or slow in our efforts, we were beaten. The real task was to focus on another thought — perhaps feeling — as we slaved away.

I used to think about slavery in the trenches, of slaves throughout the centuries:  Greek and Roman slaves, Spartacus, and Jewish slaves in Egypt. How did they manage their daily sufferings? As I pondered all this in the trenches, I worked on being hyper—vigilant, for if I fell too deeply into reflection my pace might falter. I’d bear terrible risk. And so I lived on the razor’s edge.

I reached no great conclusion as the months went by. Digging in the trenches, leveling their earthen floors, patting down with shovel this side or another, taught me nothing of use — except  despair. What I concluded above slaves and slavery stayed with me during the nights in my barrack bed. . .

One reaches such levels of depression and despondency as a slave that death becomes an essential aspiration, an ambitious and greedy need. If one leans in this direction, a proclivity which may have been in one’s personality before enslavement, all is lost. One can crave death and yet one’s body refuses to yield and one just stumbles about, denied rest . This is a very cruel existence. I lived it.
A few heroically fight back inwardly, psychologically. And how rare these men were! We could tell them apart from us because as fellow slaves we detected nuances. When we went along with abuse and punishment, they went along, but in their eyes roared defiance. Rare, but in a way, holy and majestic, their liberation was before the camps fell. And, at times, without their knowledge, they provided inspiration — but mind you, just for a moment, and not for too long.

And there are exotic or strange feelings as a slave, for at times we fawned before our masters, merged with them, craved their attention, wished them personal happiness. And I know of one prisoner who desired to be beaten to death by one particular guard, as if his choice might please this guard, give him one less prisoner to watch over. And so this inmate directed his limited existence toward that end.

The “affairs” between slave and enslaver are notoriously complex, riddling. I couldn’t grasp that then, nor do I now. I understand that under peculiar circumstances. We enslave ourselves in repeatedly different instances, giving up ourselves to be slaves is just the surface of things. It was not for nothing that slavery in this country was called the “peculiar institution.”

In our slavery is the wish to please the taskmaster, encouraging him in his brutality for we take him away from the good things of his life, for instance. As we move more profoundly into our slavery, freedom becomes irrelevant, or a whimsy. There is for some of us the perverse charm of enslavement for within we discover levels of personal pleasure, in fact, the most enslaved of us all, the ones who gave over to the taskmaster their complete selves, find in that surrender a kind of desperate freedom.

No longer do they have to care or tend to themselves, they are back in their cribs. No anxiety befalls them. All needs are met. Freedom from the unknown soothes them — the sad fools! But I should not judge. Humans are like children’s marbles, all sizes and colors, pure, dark and variegated, heavy, lightweight — it is a matter of taste, of what is suitable for playing this or that marble game. It’s what you want as a personal collectible.

The wandering of the Jews after Egypt for forty years is the Bible’s brilliant insight into the need to have the slave mentality extinguished, for only those free of internal slavery could enter Canaan. The critical conflict in my life as an “ex—slave” is whether or not my dark nature was there before or did camp life stamp that indelibly upon my brow.

In any case, it is my dark nature that determines how I feel and think. At moments I’m perforated as if essential pieces are missing. I still don’t know if I am still a slave. The camp mothered me in my adolescence, breastfed its malignant metallic tasting milk in more powerful ways than my own mother. What evil proteins passed by my lips from that witch’s teat?

I know my life after the camp has been, in a fashion, a second slavery. I have struggled to be free of the horrific icons placed inside me, emotionally and psychologically. The cruel realization is that I have to work once more on staying free. I’ve lived an appalling existence. I know. I live it still. I’m left with the stale choices only an old man has as I function day to day. My youth is gone. It was chiseled away. I am mere cloying chunks of being, trying to reclaim myself once more — and at such a late time in life. Life has been unfair is a cavalier statement for me. Life has not been for me. So what is to be done? The Jew in me has been taught to ask. Oh, reason, the Jew’s sweet river Jordan.

“Archipelago” Published at Subtletea.Com

David Herrle, poet, editor, at Subtletea has just published ”Archipelago” online, the opening story from my now completed short story collection, “Working Through the Holocaust.” If you are interested in my new effort, take a peek. It always validates me, at least, when a story or section of a work in progress is accepted for publication prior to publishing. David has also published my “Glut and Loathing in Las Vegas” in the same issue.

Before I knew it another blog was needed. About 9 months ago I was overweight to such a degree that diabetes was an incipient threat. I have seen what that disease can do and I was in no mood for insulin shots and the paraphernalia associated with that medical anguish. I got on supplements, read some essential books on dieting and began to work out at least five days a week for about 50 to 60 minutes per session. I can report after several blood tests that I am in the normal range (!) once again and that my doctor and I are both elated. He encouraged me, but I did it.  Exercise really has shown the way because losing weight has been very hard to do. I am on a version of Weight Watchers (19 points per day for those who know about such calculations), eating the so called right stuff and taking over 10 supplements to assist my body from wearing down. Being compliant when it comes to health issues and not complaisant — after all, I want to be in good health to meet the grim reaper, exercise is no longer a passing fancy. It has to be part of my life if I choose not to become a diabetic — and I choose not to.

I have one more emotional hurdle to overcome; I am detecting a hearing loss so I will have to look into that. So with a diagnosis of a cataract and macular degeneration as well, I forge ahead. Deaf, blind, but never dumb. I go on. For 70, not too bad.

All of the above has given me an oxymoronic calm urgency, to knock off at least 4 or 5 books if not more in this decade. I am bombarded in e-mail and by the world at large as to how to market my books in the digital age — e-books, twitter ( should we rename that twinkie), facebooks and all that gelatinous American push to sell, sell, sell that I enjoy my resistance to it all. As long as I can get the bucks together to finance another book and send it out to friends and mildly hustle and mildly merchandise it here and there, it keeps mental and moral dementia away from my doorstep.

Perhaps as I sit here and associate to what I am writing at this second, allow me to share my “credo,” just newly formulated and brought to you, ladies and gentlemen, directly from the unconscious, the only real friend any good writer has — for it is authentic, unbiased and nonjudgemental.

: I love existence. I do not love religion, nor country, nor nation. I disdain all tyranny, to paraphrase Jefferson, that controls our minds. And it is most everything in any culture in any country throughout the world.

: I am in insurrection over any unreasonable conditioning — Tea Partyers, parties, sects, religions, media, formal national history, family, “normal” human interactions and artists as poseurs (see “Exit Through the Gift Shop” in your local cinema).

If I come to die, let Krishnamurti tell me the truth of that and Eric Hoffer tell me that I fought the good fight.

Sandpapering

March and April have been good months for my writing. David Herrle, editor of Subtletea magazine, accepted a blog, which I revised, on first person writing (see it below). And when I sent him a copy of “Archipelago,” a perverse fantasy story, he accepted that as well. The story is one of a collection I am working on now. Jane suggested that I “field test” my stories by sending them out to literary magazines. Resisting at first, I had a chat with myself. Down to a Sunless Sea, my first collection, took me over 25 years to get published. I felt I had no time to “field test” these stories as I near my end. However, a good suggestion is a good suggestion. And so Herrle will publish the first sent out. Duff Brenna, whose site can be accessed here, is a novelist of worth and a reviewer of my books; he just initiated a new online magazine, servinghousejournal.com — I urge you to take a look — and I submitted “Soap,” a bizarre story about a Holocaust revisionist. In fact, it is quite kinky, so kinky that Duff didn’t know if it was fiction, creative non-fiction or an essay. All this was to my delight. It is suigeneris, and what big ears you have grandmother. Flattering to me, I admit.

Characterologically, I have spent my life avoiding being pocket-holed or labeled. Let me define myself — if I can, if I choose to, but not by you, the other!

And so I go about “sandpapering” each story, burnishing it and all the while careful not to squeeze out the cholesterol that is needed like fat on a pastrami to give it taste. I have also recast a blog, “Freud in Auschwitz (see that below) into a one page story and submitted that as well to an online mag called Ginosko. Perhaps these events will move you if you are a writer to gently remove the chicken from the bone and submit work in progress. I can share with you how delighted I was at small paragraph in the opening pages of Down to a Sunless Sea citing the magazines that published the stories prior to the collection itself. Such small pleasures are my sweets, not money, not whoopla about my work.

Related to all this are the early months of this year in which I diligently formed a database of email addresses to advertise the new version of The i Tetralogy, which is my magnum opus. Anally, I composed a mailing list of over 4300 synagogues, book stores, museum shops, institutes, associations, organizations all related in some fashion to the Holocaust — Jewish studies, yeshivas, Yad Yashem, et al. After that, I tried to forward them and I was blocked by Hotmail because I was now a “spammer.’ After managing this adversity and delay, I tediously finished off the list (1500 addresses) by posting only 5-15 per day. And I just received my quarterly report of books sold, and I managed to sell 7. A newpaper editor requested a copy for review and the Jewish Council requested another for consideration.  I knew I was blowin’ in the wind but I went on in any case. I believe in this book because I believe in me and  the individual who wrote  and composed it with all the passion I could muster. Unlike other writers on the Holocaust, I am not into Shoah business. The book reflects a lifetime of thinking, being, considering, self-revealing, self-examining myself as a post Holocaust, second generation American Jew. I will not capitulate to hustling this book in ways that are American, or degrading. If it sells, wonderful, if it does not sell, wonderful — I gave birth to it; I own it. It is me declaring myself to the world.

The new book, tentatively titled “Working Through the Holocaust,” referencing the psychoanalytic term for processing issues in treatment, contains roughly 3 or 4 poems and the rest are short stories, not one more than 10 pages. I find that interesting. It isn’t that I can’t write more than that, but it is as if the muse has restrained me, made me say so much more with so many fewer words, the old saw that less is more. I work the stories over on an almost daily basis, deleting, rephrasing, sharpening, restructuring; but the die is cast. Major revisions are not on the horizon. I have shot my load. I just cannot bear to redo significant parts of these stories. I feel as if I have lain down cement and I don’t want to repave again. That could be a mistake, a writerly one, but I am a very stubborn cuss.

An analogy about me might be apt at this point: imagine a mustang or steed in a gated pasture; if you want to stroke his mane or rub his nose, you can’t call out to him or demand that he obey. What would be best is to place some sugar or an apple on a post, go away and wait to he comes over to inspect the offering. It is at that point he may listen or obey or tender his self to your touch. That is me. Understand this about me and I am easy to access — I do not abide authority, I question it continually; I will not obey anyone, any dogma or doctrine, except what I give to myself as personal injunctions. And I gravitate to those of a like mind. I loathe slaves and conditoned human beings.

All my writing contains an expression of that special passion to be free, to demand justice in all things and to make the mind work better by asking it to be above all things — fair! This is my writer’s credo.

Freud in Auschwitz

Jane suggested that I write about Freud’s possible take on the Holocaust. Exemplary idea! So I came up with the title you see above. I have not come up with a story. The self-fantasy is that it would make an avant garde or modernistic short story but the reality is that I may lack the craft to do so. I tried to jot down some thoughts about the story to be, if that. I thought of his cases — Dora, the Wolfman; I thought of his colleagues, Adler, Rank, Jung, Brill, Abraham, Ferenci: the concepts of transference and counter-transference, the repetition compulsion, dream contents, dream distortion, condensation, overdetermination, symbolism and all the rest; I considered the books he wrote, especially Totem and Taboo, Civilization and Its Discontents, Moses and Monotheism. All that he had done crossed my mind. As great as Darwin and Einstein, he entered the world of the unconscious like a conquistadore — he once compared his studies and his intent to that of the Spanish conquerors.

Freud lost his sisters to Auschwitz, I believe. And I tried to imagine what a mind like his might make of the railroad station he might have been dropped off at, facing Mengele and German dogs, and being selected. I imagined what it might be like for a sondercommando to remove his jaw prosthesis that smelled so terribly his favorite dogs would leave the room and his faithful Anna would remove it. Here is the kernel of a story that drives me to distraction because I am frozen at the very beginning What would Freud make of camp life? What would he make of mankind as he saw arbeit und frei? The opening word for the story that I cannot write at this point — not even an awkward rough draft — is “So!”

In that word may be the entire story. I wonder if I should just have the title of the story and then write “So!” from the mouth of Freud. A one word story. In that word and the exclamation point may be a summation of everying. “Why!” doesn’t do it for me. For there is no why in Auschwitz. Never was. “So”! comes after the act, not before it. “How” is irrelevant, just scheduling trains, building crematoria, organizing, ruling, digging trenches, using Zyklon B gas. And then my mind took flight: Suppose I just listed five names, to wit: Einstein, Faulkner, Proust, Joyce, Socrates; and imagine I gave each creative giant a one word comment or assessment ab0ut Auschwitz.

I give you Proust: “Remember!” Joyce: “Bloom!” Faulkner: “Past!” Einstein: “Time”! Socrates: “Unexamined”! Of course, I have failed here just as I have failed to get at Freud in Auschwitz. I may very well give up trying. But the idea of crawling behind Freud’s eyes and seeing the world and this horrific event in his mind’s eye intrigues me.

I don’t think the task is unimaginable but terrifically difficult to accomplish. The only way it can be accomplished, perhaps, is to turn it into a fantasy so that the impossible becomes the norm. And what can I attain with an atheistic and stoic Jew seeing the attempted eradication of his people? Here words should fail everyone. Kane said Rosebud on his death bed, summing up  his life in the remarkable Freudian symbol of the sleigh so overdetermined by a multiplicity of meanings that Freud would have had a field day with it. I wonder what Freud’s last mental memory trace flashed in his mind after being given that final does of morphine, upon his request, from his family physician. — Was it nothing? Was it something irrelevant? Well, let me grandiosely try a few words that come to my mind as I try to creep into his last thoughts: Anna…Martin, his son…the death of his daughter…Breuer…Fleiss…his elementary school in Moravia…the cover of his The Interpretation of Dreams… or one of his favorite Greco-Roman statuettes that had strewn his office…Better yet, he remembers for a moment how he stood before Michelangelo’s statue of Moses in Rome and first began to contemplate his essay about it which would create psychoanalytic art history.

Does Freud at the Auschwitz station raise his hands to the sky like a patriarchal prophet, this man who took only aspirin for his cancer pains, and declare to a god who does not exist and therefore cannot hear, that the choice will be his to make. Walking into the “showers” stripped of all clothes, his whitish beard, his cane gone, his prosthesis to become a sondercommando’s “find,” he stands stoically straight as best a man of his age can, and says to all those around him: “Work and love; that is all there is. I hope you have had at least one of these in your time. If not, I am with you now, a friend of mankind.”

“So’!

Should my story begin with “So”! and end with with the last paragraph. Is this enough for Freud in Auschwitz?”

I await your responses.

LEVIATHAN — WORKING-THROUGH THE HOLOCAUST

Sitting downstairs is the first good draft of the above titled book. Coming in about 185 pages, it contains about 20 or more original stories written since I thought about writing such a book, I believe, in May 2009. Jane will do the first reading of it, writing notes for her promised introduction to the book as well as suggestions of what to keep in and what to drop from the collection. I tried all kinds of writerly approaches in this work, from traditional stories to the avant garde. I have one story in which the character tells me, the author, to stop interfering with the arc of the story; in other words, butt out. I have stories in which there are three points of view which gave me a chance to comment on what I was writing. I have one story dealing with cannibalism, one with Shoah business, one reveals the workings of a survivor’s thinking after the war, and a few fantasy stories all with a serious bent. I believe this is my last effort in this area. I must move on. But who knows?

For me the test of a good story or one that I am relatively satisfied with is a story that makes me feel first, then the reader. As a writer I can never tell if I reach that mark, so I count on Jane, of late, to give me her sense of it.  Our “contract” is simple: tell me the truth, don’t pull your punches. A story can always be redone or dispensed with.  And it is working so far. Of course, I have learned to balance the stories in a collection, starting off with an appetizer or “starter,” moving into entres and then ending with a hefty dessert. Most of the stories are no longer than 5 pages, some as much as 12 or 16 pages. I felt I could get to the point sooner. As I come closer to my end, less is more seems very pertinent — and true.

Robert Langer, one of our better writers on the Holocaust, and a professor of English, I believe, tells the story of his sister’s concern for him as he wrote book after book about the Holocaust.  She felt he would enter into depression if he continued to do such work. What she did was to crochet or knit covers for throw pillows for her brother with such comments as — Life is good; Things will get better; Go outside and smell the roses, or some such slogans of good cheer. Langer tried to convey to her that this was his life’s work and that the events he dealt with were sullen, sorry and sordid, however, he had the requisite skill to stand back and to observe, to record and reveal his perceptions. Amen to that.

What I feel about my book is that on some level it is a metaphor for what I have personally suffered in life; that is, an attempt by me to find purpose, intent or meaning, perhaps insight or a kind of equanimity about the events that have befallen me. The more I plunge into a story and experience the suffering, empathize with the anguish, the more I expel my own personal pain. I cannot think of a better way to spend my time than to explore and divine my inner mental, psychological and emotional states, for shortly I will be gone with the wind. As I see the “weather” about me, the climate conditions that spin about the tops of mountain ranges and oceans,the flying scud, I realize the puke of social weather –events,  social media, the morons that rule and defame and kill are really “storms” that are all peripheral to who I am. I believe there is no meaning to life,  a philosopher’s charade. It is in meaninglessness that I dwell and I am now quite use to it. I find no meaning in meaninglessness. It ain’t that simple.

I feel some stories are good, some so so, some I don’t know if they work or not. The second part of my writer’s life will be to revise, revise and revise. And then revise again and again. When all that is done, I may still have a piece of dreck on my hands. But it is my dreck, and I fashioned it. The carpenter planes, the farrier shoes the horse, and the writer crafts a tale. My life, of late, has become a mystery once more to me. Realizing that once again I am perplexed and stymied by personal family issues which I will not share here, I face once again a kind of living agony of knowing how ignorant I really am of self and other, of the inner world I live in. Once again I have to put on the harness and plow my way through the field for what I once thought was plowed land is really virgin sod. I am feeling a sadness today that cannot be shared but only felt. When I make my way through it, I may be left with nothing except, perhaps, the finer particles, of human interaction. The sadness speaks of no resolution, no finality, no making its way through things. Like the Holocaust, it has no meaning but only the weight of an immense suffering. I will prevail.

Adieu.

ASK THE GOLEM — TITLE SUGGESTED BY JANE HOLT

Jane and I have just finished laughing about the title of this blog. I was thinking of starting a column for a local newspaper with this as my working title. After all, what questions do you ask a golem? Before I go on I must say that I just finished a short story about 20 pages long tentatively called, “The Dis-Enchanted Golem,” the hyphen having importance. It is a part of a working collection of new short stories called, again tentatively, “Tales of the Holocaust and other Fun Stories.” In any case a golem is a kind of dolt made up out of clay, mud, earth. During the medieval period he was invoked by Cabalists (pre-Madonna kind) during moments of great jeopardy for Jewish communities which essentially is the last 2,000 years. The golem’s task was to slay those Christians who had killed Jews or were about to do so. To those of you who know more than I do about this creature, hold your horses. In any case I wanted to write a story about a golem. Inaccurate. I began to takes notes and the story just began and over three days it was finished. I will leave it to cool down and come back to it later. However, the questions I raised in the story are still with me. What is a golem except a mudpie without a neshamah, a soul? What does this jewish robot feel about killing? What happens to the Jew who brings him forth? Is he a Dr. Frankenstein? And what happens psychologically, emotionally, to the golem? Mary Shelley’s story has the influence of the Jewish golem tradition within its fabric, I give you as an aside. So, my story deals with ethical questions, explores the “feelings” of the golem as avenger? Jews invoke monsters periodically because as Jews in medieval times they could not have arms in the ghettoes of Europe. They were defenseless except in the one place goyim could not get at — their powers of conceptualization. I see the golem as a product of the Diaspora, a product of Jewry of the Middle Ages.

So reader what questions might you ask a golem. Dick Cheyney is a goyish golem. What might you ask him? A neshamah he does not have, I say with a pronounced Yiddish inflection. The golem in my story is the monster asking or beginning to ask questions of his creator — on the way to awareness, a recurrent theme in my writing, on the yellow brick road to owning a soul. I have another story which deals with a golem and I am beginning to consider that the golem has meaning for me beyond that of a story feature. Metaphorically we might argue that we are all born as golems and that our task is to acquire intention and soul, otherwise we remain sodden and sullen, clay dolts throughout our years. I am an educated golem, for that is what I have done with my life. As to wisdom? As to compassion? As to ethics and values? Issues for me, not you, to explore. However, would it not be interesting to have a golem columnist, coming to ideas and questions from his readers with the perspective of a golem?

“Dear Golem: Should I marry a man who is of the Christian  faith?”  Golem: “Go ahead. Who knows but one day I may be called forth to kill the son-of-a bitch.”

Dear Golem: Should I convert to my husband’s faith. He is Jewish. Golem: “Why would you choose to take on such a burden?”

I am open to other Golem repartee — just email this site.

In “The Dis-Enchanted Golem” our golem is invoked by a tsaddik which is a good and pious man who knows the Cabala. The story really is an examination by me of what it is to be a creature destined to avenge and subject to his creator’s needs. It is, I suppose, a story about will and the awakening of intelligence. I have written several stories of late about Holocaust victims and Holocaust experiences,  trying to dwell deeper into that horror show of the Twentieth Century. The golem is a fanciful tradition that reveals the Jewish mind’s attempt to cope with the horrors they came upon. Why not create a monster to seek out and kill one’s pursuers? Yet, from what I have read, there were rules and regulations, the rational side of the Jewish mystical tradition. The golem is raised, Frankenstein is made. Historian Jay Gonen  in his Psychohistory of Zionism suggested that like the Golem, “Israel was created to protect the physical safety of Jews through the use of physical power. In this allegorical fashion, Golem still lives.”

ASK THE GOLEM: Dear Golem: “What do you think of the ‘The Terminator’ in the movies? Golem: “As a robot he talks too much, thinks too little, acts too much; he is misdirected, flamboyant and purpose driven only. Personally, es zol dir farshporn fun fornt un fun hintn — you should be blocked up from in front and from behind.