Let Us Not Forget
by Irene Teger
“My Dear Son…..”
“She didn’t look at me with sympathy any more. She began to scream: “Do you want to bring death to the whole nursery? If the Nazis find you here, they will kill all of us….Please go away.”
“I went to a Gentile nursery. The leading sister told me that she would keep you from nine till five. She told me to give her your birth certificate….I began to cry. When she saw that I couldn’t stop crying, she put her arms around me with sympathy. “Sister,” I said, “I can’t give you my child’s birth certificate….We are Jewish.”
“Slowly I went to the door, but she called me back. She told me to sit down and began to speak slowly and quietly: “My poor, poor woman. I am over seventy. I hope they won’t touch the innocent children, and if they kill me, I will sooner see Our Father in Heaven….Leave your baby here.”
“It wasn’t possible for me to thank her. In a dream I turned to the door and walked out……”
Teger, Irene. Let us not Forget: A Mother’s Letter to a Son. New York: Pyramid Books, 1974. RES, 1st floor Durr Book #1. Available online courtesy of the Teger family.
Deaf Victims of the Atomic Bomb
Takeshi, Mamezuka. Don ga Kikoenakatta Hitobito: The Deaf and the Atomic Bomb. Kyoto, Japan: Bunrikaku, 1991. In Japanese. 4th floor D767.25.N3 M36 1991.
It has been 45 long years since an atomic bomb was dropped on Nagasaki, and the scars it left have been sealed deep inside the beautiful city once called the Naples of the Orient.
Even now, though, there are still people suffering from the effects of radiation sickness and struggling with the fear of death, as they continue on with their lives and with relating their story to others.
In Nagasaki, there is one time period that ended at two minutes past eleven, and another moving ahead in a present progressive tense that began at two minutes past eleven, August 9, 1945. Forty some years after the shift, people were made aware that part of the present progressive tense is the Nagasaki of people who were unable to hear the bomb’s bang. Much has been told and written of the experiences of the bombing victims with normal hearing. They have come to be well known. Deaf and dumb victims, though, were passed by, a forgotten existence sunk in an abyss of silence.
Through the camera’s finder, I was touched by the glances of the deaf and dumb, inspired by the optimism in their smiles, shaken by the view of their lives that showed, without their willing it, through their backs. There is a drama in each of them. Each made me feel he has had the strength it took to make it through, even as he shouldered everything that comes with being both handicapped and a victim of an atomic bomb.
“Silent Thunder”, an article by the Nagasaki branch of the Japanese Study Group of Sign Language Problems: p. 149-162 (PDF)
Don ga Kikoenakatta Hitobito: The Deaf and the Atomic Bomb, available online courtesy of Bunrikaku.
A Beginner's Introduction to Deaf History
A Beginner’s Introduction to Deaf History. Ed. Raymond Lee. Feltham: BDHS Publications, 2004. OVER 4th and ETRR, HV2367 .B43 2004. Section on WW II online courtesy of Raymond Lee. 93-101.
Read the chapter “World War II”, reproduced as a PDF document with permission.
Inspiration, Humor and Wisdom from the Deaf Community
edited by Damara Goff Paris & Mark Drolsbaugh.
Salem, OR: AGO Gifts and Publications, 1999.
with a Foreword from Marvin Miller, Editor-in-Chief of DeafNation Newspaper
- World War II in Norway by Henning Irgens
- Post-War Experiences of Henning Irgens by Henning Irgens
- Frieda and Me by Ira J. Rothenberg
Deaf Heritage in Canada
Carbin, Clifton F. Deaf Heritage in Canada : A Distinctive, Diverse, and Enduring Culture. Ed. Dorothy L. Smith. Toronto: McGraw-Hill Ryerson, 1996. OVER 4th floor and ETRR HV2576 .C38 1996.
Deaf People in the Holocaust
A Mission in Art: Recent Holocaust Works in America
by Vivian Alpert Thompson
Excerpt about survivor David Bloch.
Thompson, Vivian Alpert. “David Bloch.” A Mission in Art : Recent Holocaust Works in America . Macon, GA: Mercer University Press, 1988. 20-27.
Reproduced by permission of David Bloch’s estate and Mercer University Press, Macon, GA
Ten Commandments Imagery
Much of the visual imagery that appears in Bloch’s paintings reappears in his woodcuts. These woodcuts demonstrate some connection to Bloch’s German background and his likely acquaintance with German Expressionism. The bold, harsh lines that give further emotional impact to the works, and the exaggerated, gouged lines of the faces hint at the influence of the German Expressionists, who would have been familiar to Bloch as a young man.
Biesold, Horst. Crying Hands: Eugenics and Deaf People in Nazi Germany. Washington, DC: Gallaudet UP, 1999. 4th floor and ETRR HV2748 .B5413 1999.
Illusions of Equality
Buchanan, Robert M. Illusions of Equality. Washington, DC: Gallaudet UP, 1999. 4th floor and ETRR HV2530 .B83 1999.