University of Victoria

Jews and superheroes

Mark Leiren-Young (photo from Mark Leiren-Young)

From a neurotic gentleman who dresses like a bat, to a wise-cracking human spider, to a Super-Mensch appearing in the bulrushes, not to mention a green golem – it is impossible to escape the Jewish influences of comic superheroes, says Mark Leiren-Young, a creative writing instructor at the University of Victoria.

Put another way, Leiren-Young told the Independent, “It would be simpler to name the iconic comic superheroes who were not shaped by Jewish immigrants. It’s a very small list: Wonder Woman and Shazam. That’s it. That’s all of them.”

In his classes, Leiren-Young and his UVic students examine and analyze the origins of the classic superheroes, almost all of whom were created by Jewish immigrants in the United States. In the first half of the 20th century, these creators were working in comics at least in part because they were not allowed to get jobs in advertising or journalism at the time. In other words, Jews were permitted to do the low-class work that “proper people” would not consider.

Superman, Batman, Spider-Man, Green Lantern, the Flash, Dr. Strange and numerous others on the superhero roster were all products of Yiddishkeit, according to Leiren-Young, whose classes on the DC Universe and the Marvel Universe are among the most popular electives at the university.

“One of the things that fascinated me when I did a deep dive into this – all of these Jewish creators were creating characters who were not shy about their religion, though there were none who overtly identified as Jewish. For example, Spider-Man’s sense of humour is absolutely Borscht Belt humour. It is Stan Lee’s humour,” he said, referring to the character’s creator. “Now, you’re seeing the actor playing Spider-Man (Andrew Garfield) saying he just assumed he was a Jewish character. That’s how he reads.”

The perceived Jewishness of the early manifestations of comic superheroes was not lost on the Nazis. In 1940, a copy of Look magazine, featuring a two-page segment on how Superman would end the war, made its way to the desk of Das Schwartze Korps, the weekly publication of the SS, in Germany. The Nazis attacked Superman’s creator, writing, “Jerry Siegel, an intellectually and physically circumcised chap who has his headquarters in New York, is the inventor of a colourful figure with an impressive appearance, a powerful body, and a red swim suit who enjoys the ability to fly through the ether.

“The inventive Israelite named this pleasant guy with an overdeveloped body and underdeveloped mind ‘Superman.’ He advertised widely Superman’s sense of justice, well-suited for imitation by the American youth. As you can see, there is nothing (they) won’t do for money!”

The Nazis, led by Joseph Goebbels, their chief propagandist, were concerned about Superman’s sense of justice, Leiren-Young contends. The effects of the German invective against Superman and his creators carried over to these shores as well, with DC Comics being picketed by American Nazis in 1940.

“The creators of Superman were living in a Jewish section of Cleveland and were emphatically impressed with the idea of social justice,” Leiren-Young said.

The Superman-going-to-war spread in Look magazine preceded another daring Jewish-inspired comic – Captain America punching Hitler – that would be published in 1941, before the United States entered the war.

The Jewish creators of Superman and Captain America essentially were going to war and defining Hitler as the enemy before any American troops were involved, Leiren-Young explained.

“Captain America was created to punch Hitler. He looks like a nerdy Jew until he gets the super serum and then turns into the All-American Hero, which also created protests from the American Nazi Party. These were controversial because there were still so many Americans who were really not keen on the United States going to war,” said Leiren-Young.

Such imagery continued after the war. In the 1961 comic “The Death of Superman,” for example, the setting for the trial of Lex Luthor, Superman’s archenemy, strongly resembles the trial of Adolf Eichmann in Israel.

In another postwar Jewish connection, the scientist who invented Captain America in the comic series looks increasingly like Albert Einstein as the story progresses.

Leiren-Young developed an interest in comics at an early age, “raiding” his uncle’s collection after Shabbat dinners. “He had everything, but for me it was all about the DC Comics. I remember there were all sorts of different comics, but a lot of DC superheroes,” said Leiren-Young, who has more than 15,000 comic books in his collection.

In 2014, when Swerve magazine asked writers across Canada to name the most influential book they read as a youth, Leiren-Young responded, “I’ve written a few stories about how and why I fell in love with comics, but I never imagined that having a collection of 15,000-plus comics would launch my career as a television writer or become a job qualification for teaching certain university classes,” he tells his students.

Leiren-Young has written and/or developed animated shows for Netflix, BBC Kids, ABC, Teletoon and other broadcasters. He has also written for BBC’s live-action CGI superhero series Ace Lightning, and his other cartoon credits include scripts for ReBoot, Transformers: Beast Wars, RollBots, Class of the Titans and Pucca.

Beyond his classes and comics, Leiren-Young is a playwright, author, journalist, filmmaker and performer. The Hundred-Year-Old Whale, a film he wrote and directed, received the 2017 Writers Guild of Canada award for best documentary. His memoir, Never Shoot a Stampede Queen, won the 2009 Stephen Leacock Memorial Medal for Humour.

Leiren-Young recently gave a talk about comic superheroes at Victoria’s Congregation Emanu-El and hopes to address a Vancouver audience about the subject in the near future. His knowledge and enthusiasm for comics extends well beyond the confines of a standard newspaper article. He recommends Up, Up and Oy Vey by Simcha Weinstein, Stan Lee: A Life in Comics by Liel Leibowitz and Is Superman Circumcised? The Complete Jewish History of the World’s Greatest Hero by Roy Schwartz for further reading on the subject.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Survivors share their stories

Charlotte Schallié, a University of Victoria scholar and Holocaust historian who is leading the graphic novel project, with survivor David Schaffer and graphic artist Miriam Libicki, left, at Schaffer’s home in Vancouver in January 2020. (photo by Mike Morash)

A University of Victoria project, first announced in January 2020, came to fruition this spring with the release of But I Live, a graphic novel that tells the stories of four Holocaust survivors.

But I Live involved an international team of researchers, students and institutional partners from three continents, and brought together four survivors and three graphic artists to create an autobiographic series recounting one of the darkest periods in human history. The survivors who told their stories were Emmie Arbel (Israel), Nico and Rolf Kamp (Holland) and David Schaffer (Canada). Their stories were transformed into art by Barbara Yelin (Germany), Gilad Seliktar (Israel) and Miriam Libicki (Canada). The project was edited and organized by Charlotte Schallié, chair of the department of Germanic Slavic studies at UVic and head of Narrative Art and Visual Storytelling in Holocaust and Human Rights Education at the university.

image - But I Live: Three Stories of Child Survivors of the Holocaust book cover — But I Live: Three Stories of Child Survivors of the Holocaust was published by New Jewish Press (2022).

“Many people in North America have learned about the history of the Holocaust through survivor stories that are repeated in popular culture, which largely focus on survival in the concentration camps or experiences of hiding in Nazi-occupied territory,” said Schallié. “The three stories in But I Live complicate these mainstream narratives by exploring complex topics such as the burden of memory, the need to testify, the ripple effects of trauma and the impact of the Holocaust on descendants of survivors, for example. As historical documents, they are also important for centring the survivors’ experiences and enabling them to tell their own stories.”

Though the gravity of the crimes committed during the Holocaust is well documented, the majority of visual records were largely produced by the Nazis and their collaborators. “These are important historical sources,” said Schallié, “but a sole focus on documentation produced by perpetrators ignores the value of survivors as living knowledge-keepers.”

An objective of the project, therefore, was to turn the perspective over to the survivors. “A survivor-centred approach to gathering testimony about the Holocaust honours the integrity and humanity of the person’s lived experience, while respecting their right to tell their own story,” Schallié said.

Another consideration in the project was time – the majority of Holocaust survivors alive today were young children during the war and are now in their 80s and 90s. The importance of learning from these knowledge-keepers is increasingly vital.

“If we don’t engage them in our research now, their expertise and experience will soon be lost,” Schallié stressed.

There is, in her view, a moral obligation and duty to collect and preserve survivor testimonies. “Each voice that was marked to be silenced by the perpetrators of these atrocities matters greatly and needs to be heard and acknowledged,” she said.

An additional goal of But I Live is to interest young readers in Canada, where high schools are not mandated to include the study of the Holocaust in their curricula.

“We hope that our visual storytelling work will appeal to youths and young adult readers, and elicit within them a deep sense of empathy that leads them to think critically about the historical past and present,” said Schaille.

“Holocaust survivor stories that are presented as heroic narratives, where the storyline progresses from dark to light – or from a site of danger to one of safety – place a heavy burden and responsibility on survivors, whose life stories and memories are unlikely to conform to that model, and simplifies the reality of their lived experiences. But I Live holds space for fragmented memories, difficult emotions and the afterlife of trauma. In doing so, it complicates mainstream tropes, clichés and iconographic imagery that is sometimes misappropriated or exploited in popular culture,” she explained.

image - A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer — A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer. (image by Miriam Libicki)

The work at UVic expands on previous projects, such as the book On Listening to Holocaust Survivors: Beyond Testimony by Henry Greenspan of the University of Michigan, which focuses on survivor accounts while being mindful of the trauma such memories can evoke.

“Eliciting experiences and memories of extreme human suffering from the survivors necessitated a research process and practice that privileged their safety by minimizing the risk of re-traumatization, managing potential triggers and providing sustained support for all participating project partners,” Schallié said. “This approach ensured that we – the stewards of survivor memories – honoured what we felt was our obligation and duty to amplify the voices of the Holocaust survivors.”

But I Live was released by New Jewish Press, a division of University of Toronto Press. A German edition, Aber ich lebe, was published by C.H. Beck in July and has received positive coverage in the German broadsheets Der Tagesspiegel and Die Zeit. In November, the book received a German LUCHS-Preis for literature.

On Oct. 23, But I Live won the 2022 Canadian Jewish Literary Award for biography, presented at York University in Toronto. At the ceremony, the project was lauded for exemplifying “the power of the non-fiction graphic novel to convey the experience and aftereffects of the Shoah.… The historical essays, an illustrated postscript from the artists and personal words from each of the survivors offer a profound meditation on the past and its reach into the present.”

But I Live will be featured at the Cherie Smith JCC Jewish Book Festival here in Vancouver on Feb. 12.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

New exhibit at Uvic

Dr. Helga Thorson of the University of Victoria. (photo from uvic.ca)

The University of Victoria unveiled its Stories of the Holocaust: Local Memory and Transmission exhibit – a project that was part of a combined undergraduate and graduate seminar on Holocaust and memory studies – during an online launch on April 15.

The exhibit is the result of a collaborative effort. Ten community members, comprising Holocaust survivors and descendants of survivors, from Vancouver, Victoria and Salt Spring Island, were paired with 10 UVic students to present wide-ranging and diverse stories from the Shoah in a context both personal and relevant to future Holocaust education.

“Students worked one-on-one with a community partner to figure out the best way to tell each story. This, as they discovered, was no easy task,” said UVic professor Dr. Helga Thorson, the course’s instructor. The students had to learn new technological skills, go over an extensive reading list and develop interpersonal skills, which included “relationship-building and the ethical dilemmas that come into play when telling somebody’s story that is not your own.”

“The engagement and involvement of the 10 students, who took the class assignment seriously, will go a long way in helping us remember the Shoah and the story passed on by their community partner,” said Thorson. “Remembering the past also helps us reflect on the present and what this means for us in today’s world as we continue to grapple with antisemitism, racism and other forms of violence, hatred and injustice.”

Ireland Good, one of the students involved in the project, thanked the Jewish community members for “their courage and their trust in us to tell their stories and to create this exhibit. I have thoroughly enjoyed this experience,” said Good, “even with its low moments, as I am sure it is with all the other students.”

The stories represent varied experiences, including having hid in order to survive and having been sent to a Soviet gulag. They come from Hinda Avery, Lillian Boraks-Nemetz, Rudolf Deman, Ilserl Fränkel, Julius Maslovat, Micha Menczer, Isa Milman, Fred Preuss, Claire Sicherman and Hester Waas.

Maslovat was the youngest prisoner ever at Buchenwald, and he is the subject of a recent film, Why Am I Here?: A Child’s Journey Through the Holocaust. The day of the launch, April 15, had a special significance for Maslovat, as it marked the 76th anniversary of his liberation from Bergen-Belsen. He was just under 3 years old at the time.

“My story did not come to me in a neat package. There were people who knew parts of it and contributed. Other parts I had to dig out of archives in Israel, Germany, Sweden, Britain, Poland, U.S. and Finland. I have tried to tell my story by putting together the pieces like a jigsaw puzzle. This time, I have included material I have not spoken about before,” said Maslovat, explaining his contribution to the archive.

“Despite what people may think about Holocaust survivors writing their memoir or speaking about their experience, we are not navel-gazing,” said writer Boraks-Nemetz, who escaped from the Warsaw Ghetto and lived in hiding. “We who have stared into the abyss of the atrocity that was the Shoah can never erase it from our memories. When I speak about my experience, I always think of the survivors and the victims, of the injustice wrought by a madman who destroyed lives – lives of children, of my little 5-year-old sister, who was brutally murdered for being a Jewish child … of the 1.5 million children who needlessly died.”

Boraks-Nemetz continues to explore the personal and broader impacts of the Holocaust through recent works, the novel Mouth of Truth and a collection of poetry, Out of the Dark.

Dr. Richard Kool is the son of Waas, who hid in the Netherlands during the war. He spoke of the importance of conveying the story to future generations. “I’ve really understood that, as Hester’s child and the oldest of my siblings, I have a responsibility as a carrier of a message that helps me keep looking forward towards recipients, towards recipients who have more life in front of them than behind, recipients who may not even be alive yet,” he said.

“We, the survivors and their children, must look forward and consider the powerful message for future individuals and generations,” he added. “Messages that say, ‘Don’t wallow in despair, worry and victimhood, but act, now, to do what you can with the tools at your disposal and the people around you to help co-create a fairer, healthier, more just, more peaceful community and society.’”

To view the exhibit, go to omekas.library.uvic.ca.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Conspiracists not new

Prof. Simon Devereaux (photo from Twitter.com/UVicHumanities)

The belief in far-fetched plots is not a new phenomenon. There have always been people who gravitate towards and embrace conspiracy theories. In a Feb. 18 talk, hosted by the Jewish Community Centre of Victoria, University of Victoria history professor Dr. Simon Devereaux focused on “the golden age of conspiracy thinking,” highlighting various false intrigues of the latter half of the 20th century.

According to Devereaux, there are three principal elements to conspiracy theories that give them persuasive power among their adherents: big events must have big causes; no big event is random or accidental and must, therefore, be the result of a sinister and nebulous group’s intents or actions; and the most complicated explanation must, by its nature, be the correct explanation.

In his talk – entitled Conspiracy Thinking: A Rational Guide to Thinking Irrationally – Devereaux gave the November 1963 assassination of President John F. Kennedy as an example of “commensurate scale,” the need to equate consequential events with convoluted background planning. A 1992 letter to the New York Times by historian William Manchester was cited as both an explanation of and a counter to this tendency: “if you put the murdered president of the United States on one side of a scale and that wretched waif [Lee Harvey] Oswald on the other side, it doesn’t balance. You want to add something weightier to Oswald. It would invest the president’s death with meaning, endowing him with martyrdom. He would have died for something. A conspiracy would, of course, do the job nicely. Unfortunately, there is no evidence whatever that there was one.”

Devereaux then debunked many of the arguments employed by conspiracy theorists as reasons for why Kennedy might have been killed, including the belief that the young president was prepared to keep the United States out of Vietnam. He argued that Kennedy was a “hawkish” president who had the same secretaries of state and defence as his successor, President Lyndon Johnson.

On segueing into his second point – the inability of conspiracy theorists to accept that big events can happen randomly – Devereaux explained, “conspiracy thinkers ultimately want to believe that the world is an orderly place in which individuals are capable of keeping events under control. They don’t want to believe that the world is a sometimes chaotic place in which deeply upsetting events can happen for no apparent reason. It must, therefore, follow that some superlatively powerful group of individuals must be the directive force behind all events of enormous human significance.”

Growing disenchantment in the late 20th century of the nation state as a power to do good compounded the problem. As the United States lurched deeper into the ethical morass of Vietnam, Western governments, which were often seen as solutions to societal ills, with such programs as the 1930s New Deal, were no longer viewed as virtuous. The Watergate scandal of the mid-1970s, too, contributed to the increasingly held notion that people in government may be inherently corrupt.

Economically, the OPEC crisis and stagflation of the 1970s further demonstrated the “sad proof that government could not ensure that postwar prosperity could last forever,” and led to the presidency of Ronald Reagan and the distrustful neoconservative view of government, which continues to the present, said Devereaux.

“It is more consoling to think that there is someone in control, even if their intentions and purposes are entirely evil, rather than think there is no good explanation for the terrible things that sometimes befall us,” Devereaux argued.

To conspiracy theorists, the more elaborate and bizarre the assertions of conspiracies, the more compelling the argument. They are wont to believe, said Devereaux, that an unconventional approach to seeking answers is the right approach, and are dismissive of any reasoned proposition that runs counter to their argument.

“It is a world of amateur knowledge refusing to accept the world of professional knowledge. Any pattern of systematic, analytical thinking embodied, for instance, in a university, entails conventions,” he said.

To a conspiracy thinker, university professors represent people who are controlled; academics cannot say or do certain things without incurring professional censure. A common aspect of conspiracy thinking is to “trust no one,” i.e., “do not accept any conventional form of received wisdom.”

The rejection of conventional wisdom fuels their notions of being braver and deeper thinkers than others, as only they can follow the elaborate and frequently ludicrous connections of the conspiracy, said Devereaux. Thus, a conspiracy appeals to their intellectual vanity – they believe they are sharing hidden knowledge, therein fostering the idea that they are smarter than everyone else by not falling prey to “fake” mainstream news. Paradoxically, according to Devereaux, the more gullible the conspiracy believers, the more intelligent they think they are.

In his concluding remarks, Devereaux pointed out that there have been numerous conspiracies throughout history. However, most were either limited in their scope or inept, or both. Somewhere along the way, human nature ruins the plot; someone leaves the group, exposes the operation, or bungles the job.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Golem dances tango & more

University of Victoria’s Prof. Dan Russek spoke about Jewish writers in Argentina and Mexico, as well as Jorge Luis Borges’ Jewish-related writings. (photo from Dan Russek)

Dan Russek spoke on 20th-century Latin American writers, both Jewish and those who have been influenced by Jewish themes, at a Jan. 10 Zoom event organized by Congregation Emanu-El in Victoria.

Entitled The Golem Dances the Tango, the talk began with discussion of four Jewish authors – Alberto Gerchunoff and Ana Maria Shua of Argentina and Margo Glantz and Myriam Moscona of Mexico – before examining Argentine Jorge Luis Borges’ Jewish-related writings.

Gerchunoff (1883-1950) painted an idealized version of Jewish life in the Argentine countryside in his writings, with religious Jews as peasant farmers in a new land, explained Russek, an associate professor in the University of Victoria’s department of Hispanic and Italian studies.

In his best-known work, The Jewish Gauchos of the Pampas, a series of vignettes, “Gerchunoff was keen to find parallels between peasant life in Argentina and the Bible, and explore the interaction between Jews and the local residents,” Russek said. In one story, El Episodio de Myriam, a Jewish girl from a pious family elopes with a non-Jewish boy, causing uproar in the community.

Shua represents a more modern writer, less attached to traditions, said Russek. In her 1994 novel The Book of Memories, an anonymous narrator tells the story of the Rimetka family. “Gossip reigns supreme in this fictionalized account of a family. One feels as though we are witnessing a family dinner, perhaps a seder,” Russek explained. The narrator presents different and sometimes contradictory accounts, he said, creating a “series of foibles and misadventures with no end.”

Mexico’s Glantz incorporates much of her family story into her most-recognized book, The Genealogies, published in 1981. The daughter of immigrants from Ukraine, her father, Jacobo Glantz, was a promoter of Jewish intellectual life in Mexico, and once penned a poem about Christopher Columbus in Yiddish.

The Genealogies “is a form of literature as transcription and personal document,” Russek said. “It is a family story centred on her parents and her own coming of age. In Glantz, we see an adoption of Jewish culture but not of Jewish faith nor a strong sense of belonging.”

Moscona, a poet, journalist and translator, was the most contemporary writer of the four. Born in Mexico City to Ladino-speaking Bulgarian immigrants, her autobiographic novel Tela de sevoya explores her quest to find her cultural and linguistic heritage.

Russek then discussed Borges, a Judeophile who had several Jewish friends, from his time studying in Geneva, as well as literary mentors, such as Baruch Spinoza and Franz Kafka. Borges credited his English Protestant grandmother for providing a passion for Israel through a love of the Bible, and recognized Judaism as a pillar of Western Civilization.

In 1934, early in his literary life, Borges wrote an article called “I, A Jew,” which was a defence against an attack from a fascist magazine accusing him of hiding his Jewishness. In it, Borges says he would not mind at all being Jewish.

Borges lauded Israel in his poetry. In his 1969 collection In Praise of Darkness, he views Israel as a place that transcends Jewish history and the stereotypes associated with Jews. Two of the poems were written after the Six Day War and herald Israeli heroism on the battlefield.

In “Israel, 1969,” Borges writes, “You shall forget your parents’ tongue and learn the tongue of Paradise. / You shall be an Israeli. / You shall be a soldier. / You shall build the homeland with swamps, you shall erect it in deserts.”

Jewish characters and themes appear in “The Secret Miracle” and “The Death and the Compass.” And Borges had an abiding interest in kabbalah, which is documented in his essays and lectures. About his story El Aleph, Borges wrote: “In the kabbalah, that letter [aleph] signifies the En Soph, the pure and unlimited godhead; it has also been said that its shape is that of a man pointing to the sky and the earth, to indicate that the lower world is the map and mirror of the higher.”

Russek concluded with Borges’ poem “The Golem,” from the 1964 book El otro, el mismo. “Despite the logical structure of the poem, the theme deals with magic, myth and religion. The main philosophical/theological subject is the relationship between the creator and its creatures,” Russek said.

Russek is the author of Textual Exposures: Photography in 20th-Century Latin American Narrative Fiction and the upcoming Exercises in Urban Mysticism, a book of illustrated poetic prose. He coordinates Victoria’s annual Latin American and Spanish Film Week at Cinecinta.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Illustrating Holocaust stories

Gilad Seliktar, left, and Rolf Kamp in Amsterdam. They are drawing the last hiding place of Nico and Rolf Kamp in Achterveld, which was liberated in April 1945 by Canadian troops. (photo from UVic)

A University of Victoria professor is orchestrating an international project that links Holocaust survivors with professional illustrators to create a series of graphic novels, thereby bringing the stories of the Shoah to new generations.

Charlotte Schallié, a Holocaust historian and the current chair of UVic’s department of Germanic and Slavic studies, is leading the initiative, which connects four survivors living in the Netherlands, Israel and Canada with accomplished graphic novelists from three continents.

The project, called Narrative Art and Visual Storytelling in Holocaust and Human Rights Education, is supported by the Social Sciences and Humanities Research Council of Canada. Its aim is to teach about racism, antisemitism, human rights and social justice while shedding more light on one of the darkest times in human history.

UVic is partnering with several organizations in the project, including the Canadian Museum for Human Rights in Winnipeg, the Anne Frank House in Amsterdam and the Vancouver Holocaust Education Centre.

Many historians of the genre have argued that the rise of graphic novels as a serious medium of expression is largely due to the commercial success of Art Spiegelman’s Maus in 1986. Maus, the first graphic novel to win a Pulitzer Prize, depicts recollections of Spiegelman’s father, a Shoah survivor, with Jews portrayed as mice, Germans as cats and Poles as pigs.

Schallié told the Independent that the idea for the project came from observing the interest her 13-year-old son has in graphic novels and the appeal Maus has had among her students, who have continually selected it as one of the most poignant and memorable materials in her classes.

“Though a graphic novel, Maus could hardly be accused of treating the events of the Holocaust frivolously,” she said from her office on the campus of the University of Victoria.

As most survivors are now octogenarians and nonagenarians, the passage of time creates an ever more compelling need to tell their stories as soon as possible.

image - Barbara Yelin’s illustration of Emmie Arbel, now — Barbara Yelin’s illustration of Emmie Arbel, now. *(image from UVic)*

image - Barbara Yelin’s illustration of Emmie Arbel, then — Barbara Yelin’s illustration of Emmie Arbel, then. *(image from UVic)*

“Given the advanced age of survivors, the project takes on an immediate urgency,” said Schallié. “And what makes their participation especially meaningful is that each of them continues to be a social justice activist well into their 80s and 90s. They are role models for the integration of learning about the Shoah and broader questions of human rights protection.”

The visual nature of a graphic novel allows it to bring in elements or depict scenes that are not possible with an exclusively written work, according to Schallié. A person may describe an event in writing but leave out aspects of a scene that might add more to the sense of what it was like to be there at the time.

One of the survivors participating in the project, David Schaffer, 89, lives in Vancouver. He is paired with American-Israeli comic artist Miriam Libicki, who is also based in the city. The two met in person in early January so that Libicki could learn the story of how he survived the Holocaust as a child in Romania.

In 1941, Schaffer was forcibly sent with his family to Transnistria, on the border of present-day Moldova and Ukraine, by cattle car. There, they suffered starvation and were subjected to intolerable and inhumane living conditions.

image - One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer — One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer. *(image from UVic)*

“The most important thing is to share the story with the general population so they realize what happened and to avoid it happening again. It’s very simple. History has a habit of repeating itself,” said Schaffer.

Libicki, who was the Vancouver Public Library’s Writer in Residence in 2017, is the creator of jobnik!, a series of graphic comics about a summer she spent in the Israeli military. An Emily Carr University of Art + Design graduate, she also published a collection of essays on what is means to be Jewish, Toward a Hot Jew. (See jewishindependent.ca/drawing-on-identity-judaism.)

“The more stories, the better. The wiser we can be as people, the more informed we can be as citizens and the more empathy we can have for each other,” Libicki said. “Graphic novels are not just a document in the archives; they’re something people will be drawn to reading.”

image - Gilad Seliktar drew this sketch of Rolf Kamp — Gilad Seliktar drew this sketch of Rolf Kamp. *(image from UVic)*

The other illustrators are Barbara Yelin, a graphic artist living in Germany, and Gilad Seliktar, who is based in Israel. Yelin is the recipient of a number of prizes for her work, including the Max & Moritz Prize for best German-language comic artist in 2016. Seliktar has illustrated dozens of books – from publications for children to adult graphic novels – and his drawings frequently appear in leading Israeli newspapers and magazines.

Brothers Nico and Rolf Kamp in Amsterdam and Emmie Arbel in Kiryat Tiv’on, Israel, are the other three survivors who are providing their accounts of the Holocaust.

The books will be available digitally in 2022. A hard copy version of each book is planned, as well. When finished, the graphic novels will be accompanied by teachers guides and instructional material designed for schools in Canada, Germany, Israel, the Netherlands, the United Kingdom and the United States.

UVic hopes to match a larger number of survivors with professional illustrators in the future. To learn more, contact Schallié at [email protected]. You can also visit the project’s website at holocaustgraphicnovels.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.