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Zimzum Issue 1

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5<br />

THIS IS EBENSEE,<br />

LOOKING NORTH<br />

TOWARDS LAKE TRAUNSEE<br />

ON TRANSFORMATION<br />

A letter<br />

Christoph Szalay<br />

D<br />

I want to tell you a story<br />

about the time leaves fell<br />

from the trees all at once. I<br />

am thinking of cataclysm.<br />

More than anything, I<br />

want to tell you this. I<br />

want to disappear in the<br />

night. I want the night to<br />

vanish from memory.<br />

I want to tell you how this<br />

happened.<br />

Paul Guest<br />

DON'T ASK ME<br />

HOW THIS CAME<br />

TO BE.<br />

MAYBE BECAUSE<br />

IT LEAVES<br />

ENOUGH SPACE<br />

FOR WANDERING<br />

THROUGH PAGES<br />

AND PICTURES<br />

WITHOUT THE<br />

DEMAND OF<br />

ANALYTICAL<br />

NOTATION AND<br />

SEQUENCING.<br />

MAYBE BECAUSE I<br />

NEEDED SOMEONE<br />

TO TALK TO OR<br />

AT LEAST THE<br />

ILLUSION, THE<br />

FANTASY OF IT.<br />

MAYBE BECAUSE I<br />

JUST DON'T KNOW<br />

ANY BETTER.<br />

YOU ASK ABOUT<br />

TRANSFORMATION<br />

IN YOUR WORK,<br />

THE PROCESS OF<br />

URBAN,<br />

SOCIAL<br />

TRANSFORMATION<br />

AND THE MANNER<br />

IN WHICH<br />

WHEN I GO ON<br />

YOUR WEBSITE,<br />

I FIND PICTURES<br />

OF STORAGE<br />

BUILDINGS,<br />

GALLERIES,<br />

ABANDONED<br />

FACTORIES,<br />

FAMILY HOMES,<br />

ETC. IN VARIOUS<br />

EUROPEAN CITIES<br />

AND LANDSCAPES.<br />

A LETTER<br />

STRUCTURED<br />

SOMEHOW LIKE<br />

A POEM.<br />

ALL OF THEM<br />

FORMER LABOUR<br />

CAMPS DURING<br />

THE NAZI REGIME.<br />

I LIKE THE<br />

IDEA BEHIND<br />

TRANSFORMATION<br />

BECAUSE IT SPEAKS<br />

OF MOVEMENT AND<br />

STORYTELLING.<br />

TWO TERMS<br />

THAT SEEM TO BE<br />

CENTRAL FOR A<br />

CONTEMPORARY<br />

DISCOURSE ON<br />

THE SHOAH AND<br />

BEYOND, THE<br />

SITES AND STORIES<br />

OF NAZI TERROR<br />

BEGINNING WITH<br />

THE BUILDING<br />

OF THE FIRST<br />

CONCENTRATION<br />

CAMPS IN<br />

DACHAU AND<br />

ORANIENBURG IN<br />

1933.<br />

“I LIKE” IS<br />

MAYBE NOT THE<br />

RIGHT WORDING;<br />

AN HISTORICAL<br />

CATASTROPHE<br />

CAN BECOME<br />

NORMALISED<br />

OR NEUTRALISED.<br />

INSTEAD, I<br />

SHOULD SAY “I<br />

AM INTERESTED<br />

IN” YOUR FOCUS,<br />

SINCE WE ARE<br />

TALKING ABOUT<br />

A CHANGE IN THE<br />

NARRATIVE RIGHT<br />

NOW AS WE SPEAK.<br />

I AM WONDERING<br />

WHAT WILL<br />

HAPPEN TO THE<br />

STORY, WHO WILL<br />

TELL IT, HOW AND<br />

TO WHOM?!<br />

NAVID KERMANI,<br />

A GERMAN<br />

WRITER AND<br />

ORIENTALIST,<br />

RECENTLY WROTE<br />

AN ARTICLE IN<br />

ONE OF THE<br />

BIG GERMAN<br />

NEWSPAPERS,<br />

THE FAZ, WHERE<br />

HE POSES THE<br />

QUESTION OF<br />

THE FUTURE OF<br />

REMEMBERING.<br />

AUSCHWITZ<br />

TOMORROW<br />

AS THE ENGLISH<br />

TRANSLATION<br />

WOULD GO.<br />

HE BEGINS THE<br />

STORY WITH AN<br />

OBSERVATION.<br />

WITNESSES<br />

ARE SLOWLY<br />

BUT SURELY<br />

FADING AWAY.<br />

Photo: Tourismusbüro Ebensee<br />

ear Hadas,<br />

This is a letter.<br />

A letter in different parts.<br />

A letter in the age of<br />

post-intimacy. Of posteverything.<br />

WHAT HE<br />

OBSERVES IS THE<br />

SENSATION OF<br />

UNEASINESS AS<br />

SOON AS HE AND<br />

OTHERS PUT THE<br />

DEUTSCH BADGE<br />

ON THEIR CHEST,<br />

SIGNALLING THE<br />

LANGUAGE THEY<br />

HAD CHOSEN<br />

FOR THE<br />

GUIDED TOUR<br />

THROUGH<br />

AUSCHWITZ-<br />

BIRKENAU<br />

MEMORIAL AND<br />

MUSEUM.<br />

AS A SON<br />

OF IRANIAN<br />

IMMIGRANTS, HE<br />

RECALLS THIS AS A<br />

DEFINING MOMENT<br />

OF BECOMING<br />

DEUTSCH,<br />

UNCONDI-<br />

TIONALLY.<br />

WHAT HE AND<br />

OTHERS IN THE<br />

GROUP FELT<br />

WAS SHAME AND<br />

GUILT, FIRST AND<br />

FOREMOST.<br />

AFTER THE<br />

HORROR OF THE<br />

NAZI REGIME,<br />

IN THE SELF-<br />

CONCEPTION OF<br />

GERMAN SOCIETY.<br />

EVEN TO THE<br />

POINT, AS<br />

KERMANI WRITES,<br />

WHERE IN 1951<br />

(ALREADY) THE<br />

IMPLEMENTATION<br />

LAW FOR ARTICLE<br />

131 OF THE<br />

CONSTITUTION<br />

ENABLING THE<br />

REINTEGRATION<br />

OF FORMER CIVIL<br />

SERVANTS OF THE<br />

NAZI REGIME<br />

WAS JUSTIFIED<br />

AS NECESSARY IN<br />

ORDER FINALLY TO<br />

DRAW THE LINE.<br />

KERMANI'S<br />

EXAMPLES<br />

CONTINUE UP<br />

UNTIL THE<br />

PRESENT DAY,<br />

WITH HIS BELIEF<br />

THAT THE PERIODS<br />

OF TIME LEADING<br />

UP TO DEMANDING<br />

THESE FINAL LINE-<br />

DRAWINGS, UP<br />

TO DECLARING<br />

THE PAST AS<br />

OVERCOME, WILL<br />

BECOME SHORTER<br />

AND INCREASINGLY<br />

GUILELESS.<br />

A PERPETUUM<br />

MOBILE OF<br />

WISHES.<br />

WISHES FOR<br />

NORMALISATION.<br />

WHEN INDEED, AS<br />

KERMANI INSISTS,<br />

THIS LANGUAGE<br />

AND CULTURE<br />

WILL NEVER BE,<br />

CAN NEVER AND<br />

SHOULD NEVER BE,<br />

“NORMAL”.<br />

BUT THIS IS WHAT<br />

HE FEARS AS<br />

TRANSFORMATION<br />

HAPPENS.<br />

AS TIME<br />

PROGRESSES.<br />

AS DEMOGRAPHICS<br />

CHANGE.<br />

IF A SOCIETY IS<br />

BUILT ON THE<br />

STORIES, RITUALS<br />

AND MYTHS THAT<br />

IT RECOUNTS<br />

IN ORDER TO<br />

REASSURE ITSELF,<br />

IT SHOULD<br />

ALSO INCLUDE<br />

THE NEGATIVE,<br />

THE BAD, THE<br />

THE DESIRE FOR<br />

NORMALISATION<br />

SOON BECAME A<br />

DRIVING FORCE<br />

EVIL ONES, AND<br />

AUSCHWITZ IS THE<br />

ULTIMATE EVIL OF<br />

GERMAN HISTORY<br />

AND SOCIETY,<br />

THE ULTIMATE<br />

CAESURA IN<br />

GERMAN HISTORY<br />

AND SOCIETY, ONE<br />

THAT CAN NEVER<br />

BE “NORMALISED”,<br />

CLAIMS KERMANI.<br />

BUT IT IS ALSO<br />

ONE THAT SHOULD<br />

NOT ONLY BE TOLD<br />

AS A STORY OF<br />

GUILT BUT AS A<br />

STORY OF BLANK<br />

SPACES THAT<br />

HAVE NEVER BEEN<br />

FILLED.<br />

A STORY<br />

OF LOSS.<br />

LOSS OF<br />

KNOWLEDGE,<br />

OF CULTURE, OF<br />

LANGUAGE.<br />

IN THE END, HE<br />

CONCLUDES, IT<br />

WILL COME DOWN<br />

TO STORYTELLING<br />

AGAIN.<br />

WHO TELLS THE<br />

STORY, HOW AND<br />

TO WHOM?<br />

SINCE WE ARE<br />

TALKING STORY.<br />

IT'S A VERY<br />

DIFFERENT ONE IN<br />

AUSTRIA.<br />

THE CONSTITUENT<br />

STORY WAS, WITH<br />

REFERENCE TO<br />

THE MOSCOW<br />

DECLARATION<br />

FROM 1943, ONE OF<br />

BEING THE FIRST<br />

VICTIM OF NAZI<br />

GERMANY.<br />

THERE NEVER<br />

REALLY WAS<br />

A STORY OF<br />

REMEMBRANCE,<br />

ONLY ONE OF<br />

FALLEN HEROES OF<br />

WAR, IMPORTANT<br />

ESPECIALLY FOR<br />

THE BONDS AND<br />

BOUNDARIES<br />

OF LOCAL<br />

COMMUNITIES, IN<br />

CONTRADICTION<br />

TO THE EQUALLY<br />

GLORIFYING<br />

REMEMBRANCE OF<br />

THE RESISTANCE.<br />

IT TOOK UNTIL<br />

THE END<br />

OF THE ‘80S<br />

BEFORE ALFRED<br />

HRDLICKA'S<br />

MONUMENT<br />

AGAINST<br />

6

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