Daniel Pedersen’s ”Natt och aska” (Night and Ashes) is a monumental exploration of Holocaust literature, tackling the complex and often harrowing task of representing the unimaginable. The book begins with a provocative question posed to Claude Lanzmann, director of the acclaimed documentary ”Shoah”: What would he do if he found a film depicting the horrors of an Auschwitz gas chamber? Lanzmann’s response was that he would destroy it, a seemingly paradoxical stance given his dedication to giving voice to Holocaust survivors. Pedersen uses this anecdote to introduce the central challenge of representing the Holocaust: how to approach a subject so horrific that even direct visual evidence risks becoming a voyeuristic spectacle, obscuring rather than illuminating the truth. This dilemma echoes the controversy surrounding Georges Didi-Huberman’s analysis of photographs smuggled out of Auschwitz by Sonderkommando members. Critics argued that Didi-Huberman’s art historical framework was inappropriate for depicting the ”inconceivable.” However, Didi-Huberman countered that true understanding requires the ability to imagine, even in the face of unimaginable horror. Pedersen adopts this perspective, arguing that while the Holocaust was an attempt to destroy the very essence of humanity, it is nonetheless a testament to human capacity for both profound cruelty and remarkable resilience. Understanding this duality is crucial, particularly as the last survivors disappear.
Pedersen’s approach to this vast body of literature is unconventional. Eschewing a chronological or biographical approach, he structures his analysis around the stages of the Holocaust experience: pre-deportation daily life, the ghetto, the transport by cattle car, the camps themselves, and the aftermath for survivors. This thematic organization allows him to weave together diverse genres and perspectives, creating a tapestry of voices that illuminates the multifaceted nature of the Holocaust experience. This approach may frustrate readers seeking a traditional overview, but it aligns with Didi-Huberman’s call for active engagement with the material, encouraging readers to grapple with the complexities of the Holocaust rather than passively absorbing facts and figures. This structure underscores the book’s core aim, not to provide definitive answers but to explore what the literature itself reveals about this horrific chapter in human history.
”Natt och aska” encompasses a wide range of literary forms, including poetry, drama, diaries, autobiographical novels, and fictional accounts. Pedersen juxtaposes well-known works by authors like Primo Levi and Anne Frank with lesser-known texts, such as the poetry of Miklós Radnóti, whose final verses were retrieved from a mass grave, and the modernist prose of H.G. Adler, whose ”Eine Reise” faced rejection from German publishers who deemed its experimental style unsuitable for depicting the Holocaust. He even includes the pulp-fiction-esque narratives of Ka-Tzetnik 135633 (Yehiel De-Nur), who considered his work to be ”chronicles from the planet Auschwitz” rather than literature. This diverse selection highlights the multitude of ways individuals attempted to process and comprehend the trauma they endured. The juxtaposition of these disparate voices, with their varying styles and perspectives, amplifies the impact of their collective testimony.
The book doesn’t shy away from the contentious debates surrounding Holocaust literature. Pedersen touches on questions of authorship, the role of personal experience, the legitimacy of fictional representations, and the delayed recognition of these works’ significance. However, his primary focus is not to resolve these debates, but rather to let the literature speak for itself. He allows the recurring themes and shared experiences to emerge organically from the texts, building a cumulative understanding of the Holocaust’s impact. This method underscores the idea that the literature itself, in its diverse forms and expressions, holds the key to comprehending the Holocaust.
Pedersen’s analysis doesn’t just focus on the victims. He also examines the perpetrators’ behaviour, particularly their chilling indifference to suffering, especially the suffering of children. This theme resonates with Primo Levi’s observation about the “glassy-eyed” gaze of the guards, a look devoid of human connection, which Levi believed held the key to understanding the heart of Nazi barbarity. By exploring this aspect of the Holocaust, Pedersen further emphasizes the dehumanizing nature of the Nazi regime and its systematic effort to erase not only individuals but also the very bonds of human empathy. This examination of the perpetrators’ actions adds another layer of complexity to the narrative, forcing readers to confront not just the victims’ suffering but also the moral bankruptcy of those who orchestrated and carried out the atrocities.
”Natt och aska” is not a casual read. It is a demanding and deeply affecting exploration of a complex and painful subject. It is a book to be wrestled with, returned to, and reflected upon. Pedersen’s unique approach allows readers to engage with the literature on its own terms, grappling with the multifaceted nature of the Holocaust experience and the profound questions it raises about human nature. By emphasizing the power of literature to convey even the most unimaginable horrors, Pedersen provides a crucial resource for understanding the Holocaust, ensuring that its lessons continue to resonate even as living memory fades. The book serves as a testament to the enduring power of language in the face of unspeakable atrocity. It stands as an essential contribution to Holocaust studies, offering a valuable pathway for future generations to grapple with the historical and ethical implications of this horrific period.
