Tantrums, rancid meatloaf and family silver stuffed into underpants: the delicate art of the Holocaust comedy | Books
Gisela, the grandmother of graphic memoirist Astrid Goldsmith, was known for her sharp wit and unapologetic personality. A story illustrates this: when Goldsmith’s father refused to eat meatloaf as a child, Gisela repeatedly served it to him until he complied, even as it spoiled.
A Family History of Humor and Trauma
This anecdote, and others like it, form a backdrop to Goldsmith’s exploration of her family history and the legacy of the Holocaust. She recalls a childhood dinner in Freiburg where her refusal to eat her grandmother’s cooking led to a decades-long retelling of the story, often embellished for comedic effect.
Goldsmith’s research for her graphic memoir, The Crystal Vase, revealed how these personal stories intertwined with the larger history of the Holocaust. She notes a critical distance from the experience compared to her father, a first-generation descendant of survivors.
A Shift in Storytelling
Recent works, such as the film A Real Pain, demonstrate a trend of third-generation survivors using humor to explore their family histories. Director Jesse Eisenberg described this approach as a way to “burn down the house” built by the first generation, creating irreverent and transgressive tones alongside reverence for the past.
This approach is also evident in the film Treasure, where a daughter’s exasperation with her Auschwitz-survivor father is played for laughs, and in Joe Dunthorne’s memoir, Children of Radium, which wryly examines his great-grandfather’s role in developing chemical weapons for the Nazis.
Goldsmith’s grandmother, Gisela, escaped Nazi Germany in 1939 and eventually settled in Zimbabwe and then Freiburg, Germany. Her family experienced significant loss during the Holocaust, with many members killed in concentration camps like Sobibór, Mauthausen, and Theresienstadt.
Goldsmith’s initial intention was to create a reverential portrait of her grandmother, but the eccentricities of her family during the process of settling her estate led her to embrace a more nuanced and humorous approach. She acknowledges that even Art Spiegelman’s acclaimed Maus faced initial criticism for its unconventional depiction of the Holocaust.
Frequently Asked Questions
What was Gisela’s personality like?
Gisela was described as not being affable, enjoying laughing at others’ misfortunes, and being unafraid to tell people off.
What is the trend in storytelling among third-generation Holocaust survivors?
There is a growing trend of using humor and irreverence to explore family histories and the legacy of the Holocaust, as seen in works like A Real Pain and Treasure.
Where did Gisela escape to after leaving Germany?
Gisela escaped to Amsterdam and then sailed to South Africa, eventually settling in Bulawayo, Southern Rhodesia, before returning to Germany in 1976.
How do you think the evolving ways of telling these stories will impact how future generations understand the Holocaust?