In this memoir Morris Wyszogrod recounts his experiences from the time of the Nazi invasion of Poland to the liberation of the Theresienstadt concentration camp in 1945. He describes in detail the time he spent in the Warsaw Ghetto; his work as an artist for various Luftwaffe personnel at the Warsaw military airport; his experiences at the BudzynŒ concentration camp, where he was assigned to decorate the living quarters of the SS and to produce drawings at an orgiastic Oktoberfest; his removal to Plaszow, where he was put to work digging up mass graves and burning the bodies to eliminate the evidence of Nazi war crimes; his witnessing of the firebombing of Dresden in February 1945; and his subsequent liberation at Theresienstadt by the Red Army in May 1945. Just as an artist may register what she or he sees against a sensitive visual and moral template, so Wyszogrod doubly registered what he saw and felt, both in his drawings and in his memories.
In this memoir Morris Wyszogrod recounts his experiences from the time of the Nazi invasion of Poland to the liberation of the Theresienstadt concentration camp in 1945. He describes in detail the time he spent in the Warsaw Ghetto; his work as an artist for various Luftwaffe personnel at the Warsaw military airport; his experiences at the BudzynŒ concentration camp, where he was assigned to decorate the living quarters of the SS and to produce drawings at an orgiastic Oktoberfest; his removal to Plaszow, where he was put to work digging up mass graves and burning the bodies to eliminate the evidence of Nazi war crimes; his witnessing of the firebombing of Dresden in February 1945; and his subsequent liberation at Theresienstadt by the Red Army in May 1945. Just as an artist may register what she or he sees against a sensitive visual and moral template, so Wyszogrod doubly registered what he saw and felt, both in his drawings and in his memories.
Russian Tales of Demonic Possession: Translations of Savva Grudtsyn and Solomonia is a translation from the Russian of two stories of demonic possession, of innocence lost and regained. The original versions of both tales date back to the seventeenth century, but the feats of suffering and triumph described in them are timeless. Aleksei Remizov, one of Russia’s premiere modernists, recognized the relevance of the late-medieval material for his own mid-twentieth-century readers and rewrote both tales, publishing them in 1951 under the title The Demoniacs. The volumeoffers a new translation of the original Tale of Savva Grudtsyn as well as first-ever translations of The Tale of The Demoniac Solomonia and Remizov’s Demoniacs. Russian Tales of Demonic Possession opens with an introduction that interprets and contextualizes both the late-medieval and the twentieth-century tales. By providing new critical interpretations of all four tales as well as a short discussion of the history of demons in Russia, this introduction makes an eerily exotic world accessible to today’s English-speaking audiences. Savva Grudtsyn and Solomonia, the protagonists of the two tales, are young people poised on the threshold of adulthood. When demons suddenly appear to confront and overmaster them, each of them teeters on the brink of despair in a world filled with chaos and temptation. The Tale of Savva Grudtsyn and The Tale of the Demoniac Solomonia propel us forcibly into the realm of good and evil and pose hard questions: Why does evil afflict us? How does it manifest itself? How can it be overcome? Aleksey Remizov’s modernist re-castings of the two stories offer compelling evidence that these same questions are very much with us today and are still in need of answers.
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