Night (memoir)

Nightis a 1960memoirbyElie Wieselbased on hisHolocaustexperiences with his father in theNazi Germanconcentration campsatAuschwitzandBuchenwaldin 1944–1945, toward the end of theSecond World Warin Europe. In just over 100 pages of sparse and fragmented narrative, Wiesel writes about his loss of faith and increasing disgust with humanity, recounting his experiences from theNazi-established ghettosin his hometown ofSighet, Romania, to his migration through multiple concentration camps. The typical parent–child relationship is inverted as his father dwindled in the camps to a helpless state while Wiesel himself became his teenaged caregiver.His father died in January 1945, taken to thecrematoryafter deteriorating fromdysenteryand a beating while Wiesel lay silently on the bunk above him for fear of being beaten too. The memoir ends shortly after theUnited States Armyliberated Buchenwald in April 1945.
After the war, Wiesel moved to Paris and in 1954 completed an 862-page manuscript inYiddishabout his experiences, published in Argentina as the 245-pageUn di velt hot geshvign("And the World Remained Silent").The novelistFrançois Mauriachelped him find a French publisher.Les Éditions de Minuitpublished 178 pages asLa Nuitin 1958, and in 1960Hill & Wangin New York published a 116-page translation asNight.
Translated into 30 languages, the book ranks as one of the cornerstones ofHolocaust literature.It remains unclear how much ofNightis memoir. Wiesel called it his deposition, but scholars have had difficulty approaching it as an unvarnished account. The literary criticRuth Franklinwrites that the pruning of the text from Yiddish to French transformed an angry historical account into a work of art.
Nightis the first in a trilogy—Night,Dawn,Day—marking Wiesel's transition during and after the Holocaust from darkness to light, according to the Jewish tradition of beginning a new day at nightfall. "InNight," he said, "I wanted to show the end, the finality of the event. Everything came to an end—man, history, literature, religion, God. There was nothing left. And yet we begin again with night."
Elie Wieselwas born on 30 September 1928 inSighet, a town in theCarpathian mountainsofnorthern Transylvania(nowRomania), to Chlomo Wiesel, a shopkeeper, and his wife, Sarah (née Feig). The family lived in a community of 10,000–20,000 mostlyOrthodox Jews. Northern Transylvania had beenannexedby Hungary in 1940, and restrictions on Jews were already in place, but the period Wiesel discusses at the beginning of the book, 1941–1943, was a relatively calm one for the Jewish population.
That changed at midnight on Saturday, 18 March 1944, with theinvasion of Hungaryby Nazi Germany, and the arrival in Budapest of SS-ObersturmbannführerAdolf Eichmannto oversee the deportation of the country's Jews to theAuschwitz concentration campinGerman-occupied Poland. From 5 April, Jews over the age of six had to wear a 10 x 10 cm (3.8 x 3.8 in)yellow badgeon the upper-left side of their coats or jackets.Jews had to declare the value of their property, and were forbidden from moving home, travelling, owning cars or radios, listening to foreign radio stations, or using the telephone. Jewish authors could no longer be published, their books were removed from libraries, and Jewish civil servants, journalists and lawyers were sacked.
As theAlliesprepared for theliberation of Europe, the mass deportations began at a rate of four trains a day from Hungary to Auschwitz, each train carrying around 3,000 people.Between 15 May and 8 July 1944, 437,402 Hungarian Jews are recorded as having been sent there on 147 trains, most gassed on arrival.The transports comprised most of the Jewish population outside Budapest, the Hungarian capital.
Between 16 May and 27 June, 131,641 Jews were deported from northern Transylvania.Wiesel, his parents and sisters—older sisters Hilda and Beatrice and seven-year-old Tzipora—were among them. On arrival Jews were "selected" for the death or forced labour; to be sent to the left meant work, to the right, the gas chamber.Sarah and Tzipora were sent to the gas chamber. Hilda and Beatrice survived, separated from the rest of the family. Wiesel and Chlomo managed to stay together, surviving forced labour and adeath marchto another concentration camp,Buchenwald, nearWeimar. Chlomo died there in January 1945, three months before the6th Armored Divisionof theUnited States Armyarrived to liberate the camp.
Nightopens in Sighet in 1941. The book's narrator is Eliezer, an Orthodox Jewish teenager who studies theTalmudby day, and by night "weep[s] over thedestruction of the Temple". To the disapproval of his father, Eliezer spends time discussing theKabbalahwith MoshetheBeadle, caretaker of theHasidicshtiebel(house of prayer).
In June 1941 the Hungarian government expelled Jews unable to prove their citizenship. Moshe is crammed onto a cattle train and taken to Poland. He manages to escape, saved by God, he believes, so that he might save the Jews of Sighet. He returns to the village to tell what he calls the "story of his own death", running from one house to the next: "Jews, listen to me! It's all I ask of you. No money. No pity. Just listen to me!"
When the train crossed into Poland, he tells them, it was taken over by theGestapo, the German secret police. The Jews were transferred to trucks, then driven to a forest inGalicia, nearKolomay, where they were forced to dig pits. When they had finished, each prisoner had to approach the hole, present his neck, and was shot. Babies were thrown into the air and used as targets by machine gunners. He tells them about Malka, the young girl who took three days to die, and Tobias, the tailor who begged to be killed before his sons; and how he, Moshe, was shot in the leg and taken for dead. But the Jews of Sighet would not listen, making MosheNight'sfirstunheeded witness.
The Germans arrived in Sighet around 21 March 1944, and shortly afterPassover(8–14 April that year) arrested the community leaders. Jews had to hand over their valuables, were not allowed to visit restaurants or leave home after six in the evening, and had to wear theyellow starat all times. Eliezer's father makes light of it:
TheSStransfer the Jews to one of two ghettos, each with itsown councilorJudenrat, which appoints Jewish police; there is also an office for social assistance, a labor committee, and a hygiene department. Eliezer's house, on a corner of Serpent Street, is in the larger ghetto in the town centre, so his family can stay in their home, although the windows on the non-ghetto side have to be boarded up. He is happy at first: "We should no longer have before our eyes those hostile faces, those hate-laden stares. ... The general opinion was that we were going to remain in the ghetto until the end of the war, until the arrival of the Red Army. Then everything would be as before. It was neither German nor Jew who ruled the ghetto—it was illusion."
In May 1944 theJudenratis told the ghettos will be closed with immediate effect and the residents deported. Eliezer's family is moved at first to the smaller ghetto, but they are not told their final destination, only that they may each take a few personal belongings. The Hungarian police, wielding truncheons and rifle butts, march Eliezer's neighbours through the streets. "It was from that moment that I began to hate them, and my hate is still the only link between us today."
Eliezer and his family are among the 80 people crammed into a closed cattle wagon. On the third night one woman, Madame Schächter—Night'ssecond unheeded witness—starts screaming that she can see flames, until the others beat her. Men and women are separated on arrival atAuschwitz II-Birkenau, the extermination camp within the Auschwitz complex. Eliezer and his father are "selected" to go to the left, which meant forced labour; his mother, Hilda, Beatrice and Tzipora to the right, the gas chamber. (Hilda and Beatrice managed to survive.)
The remainder ofNightdescribes Eliezer's efforts not to be parted from his father, not even to lose sight of him; his grief and shame at witnessing his father's decline into helplessness; and as their relationship changes and the young man becomes the older man's caregiver, his resentment and guilt, because his father's existence threatens his own. The stronger Eliezer's need to survive, the weaker the bonds that tie him to other people.
His loss of faith in human relationships is mirrored in his loss of faith in God. During the first night, as he and his father wait in line, he watches a lorry deliver its load of children's bodies into the fire. While his father recites theKaddish, the Jewish prayer for the dead—Wiesel writes that in the long history of the Jews, he does not know whether people have ever recited the prayer for the dead for themselves—Eliezer considers throwing himself against the electric fence. At that moment he and his father are ordered to go to their barracks. But Eliezer is already destroyed. "[T]he student of the Talmud, the child that I was, had been consumed in the flames. There remained only a shape that looked like me."There follows a passage that Ellen Fine writes contains the main themes ofNight—the death of God and innocence, and thedéfaite du moi(dissolution of self), a recurringmotifin Holocaust literature:
With the loss of self goes Eliezer's sense of time: "I glanced at my father. How he had changed! ... So much had happened within such a few hours that I had lost all sense of time. When had we left our houses? And the ghetto? And the train? Was it only a week? One night –one single night?"
In or around August 1944 Eliezer and his father are transferred from Birkenau to the work camp at Monowitz (known as Buna or Auschwitz III), their lives reduced to the avoidance of violence and the search for food.Their only joy is when the Americans bomb the camp. God is not lost to Eliezer entirely. During the hanging of a child, which the camp is forced to watch, he hears someone ask:Where is God? Where is he?Not heavy enough for the weight of his body to break his neck, the boy dies slowly. Wiesel files past him, sees his tongue still pink and his eyes clear.
Fine writes that this is the central event inNight, a religious sacrifice—thebinding of Isaacandcrucifixion of Jesus—described byAlfred Kazinas the literal death of God.Afterwards the inmates celebrateRosh Hashanah, the Jewish new year, but Eliezer cannot take part: "Blessed be God's name? Why, but why would I bless Him? Every fiber in me rebelled ... How could I say to Him:Blessed be Thou, Almighty, Master of the Universe, whochose usamong all nations to be tortured day and night, to watch as our fathers, our mothers, our brothers end up in the furnaces? ... But now, I no longer pleaded for anything. I was no longer able to lament. On the contrary, I felt very strong. I was the accuser, God the accused."
In January 1945, with theSoviet armyapproaching, the Germans decide to flee, taking 60,000 inmates on a death march to concentration camps in Germany. Eliezer and his father are marched toGleiwitzto be put on a freight train toBuchenwald, a camp nearWeimar, Germany, 350 miles (563 km) from Auschwitz.
Resting in a shed after marching over 40 miles (64 km), Rabbi Eliahou asks if anyone has seen his son. They had stuck together for three years, "always near each other, for suffering, for blows, for the ration of bread, for prayer", but the rabbi had lost sight of him in the crowd and was now scratching through the snow looking for his son's corpse. "I hadn't any strength left for running. And my son didn't notice. That's all I know."Eliezer does not tell the man that his son had indeed noticed his father limping, and had run faster, letting the distance between them grow: "And, in spite of myself, a prayer rose in my heart, to that God in whom I no longer believed. My God, Lord of the Universe, give me strength never to do what Rabbi Eliahou's son has done."
The inmates spend two days and nights in Gleiwitz locked inside cramped barracks without food, water or heat, sleeping on top of one another, so that each morning the living wake with the dead underneath them. There is more marching to the train station and onto a cattle wagon with no roof. They travel for ten days and nights, with only the snow falling on them for water. Of the 100 in Eliezer's wagon, 12 survive the journey. The living make space by throwing the dead onto the tracks:
The Germans are waiting with megaphones and orders to head for a hot bath. Wiesel is desperate for the heat of the water, but his father sinks into the snow. "I could have wept with rage ... I showed him the corpses all around him; they too had wanted to rest here ... I yelled against the wind ... I felt I was not arguing with him, but with death itself, with the death he had already chosen."An alert sounds, the camp lights go out, and Eliezer, exhausted, follows the crowd to the barracks, leaving his father behind. He wakes at dawn on a wooden bunk, remembering that he has a father, and goes in search of him.
His father is in another block, sick with dysentery. The other men in his bunk, a Frenchman and a Pole, attack him because he can no longer go outside to relieve himself. Eliezer is unable to protect him. "Another wound to the heart, another hate, another reason for living lost."Begging for water one night from his bunk, where he has lain for a week, Chlomo is beaten on the head with a truncheon by an SS officer for making too much noise. Eliezer lies in the bunk above and does nothing for fear of being beaten too. He hears his father make a rattling noise, "Eliezer". In the morning, 29 January 1945, he finds another man in his father's place. The Kapos had come before dawn and taken Chlomo to the crematorium.
Chlomo missed his freedom by three months. The Soviets hadliberated Auschwitz11 days earlier, and the Americans were making their way towards Buchenwald. Eliezer is transferred to the children's block where he stays with 600 others, dreaming of soup. On 5 April 1945 the inmates are told the camp is to be liquidated and they are to be moved—another death march. On 11 April, with 20,000 inmates still inside, aresistance movementinside the camp attacks the remaining SS officers and takes control. At six o'clock that evening, an American tank arrives at the gates, and behind it theSixth Armored Divisionof the United States Third Army.Wiesel looks at himself in a mirror for the first time since the ghetto and sees only a corpse.
Wiesel wanted to move toPalestineafter his release, but because of British immigration restrictions was sent instead by theOeuvre au Secours aux Enfants(Children's Rescue Service) to Belgium, then Normandy. In Normandy he learned that his two older sisters, Hilda and Beatrice, had survived. From 1947 to 1950 he studied theTalmud, philosophy and literature at theSorbonne, where he was influenced by theexistentialists, attending lectures byJean-Paul SartreandMartin Buber. He also taughtHebrew, and worked as a translator for the Yiddish weeklyZion in Kamf. In 1948, when he was 19, he was sent to Israel as a war correspondent by the French newspaperL'arche, and after the Sorbonne became chief foreign correspondent of the Tel Aviv newspaperYedioth Ahronoth.
Wiesel wrote in 1979 that he kept his story to himself for ten years. In 1954 he wanted to interview the French prime minister,Pierre Mendès-France, and approached the novelistFrançois Mauriac, a friend of Mendès-France, for an introduction.Wiesel wrote that Mauriac kept mentioning Jesus: "Whatever I would ask – Jesus. Finally, I said, 'What about Mendès-France?' He said that Mendès-France, like Jesus, was suffering ..."
Wiesel started writing on board a ship to Brazil, where he had been assigned to cover Christian missionaries within Jewish communities, and by the end of the journey had completed an 862-page manuscript.He was introduced on the ship to Yehudit Moretzka, a Yiddish singer travelling with Mark Turkov, a publisher of Yiddish texts. Turkov asked if he could read Wiesel's manuscript.It is unclear who edited the text for publication. Wiesel wrote inAll Rivers Run to the Sea(1995) that he handed Turkov his only copy and that it was never returned, but also that he (Wiesel) "cut down the original manuscript from 862 pages to the 245 of the published Yiddish edition."
Turkov'sTzentral Varband für Polishe Yidn in Argentina(Central Union of Polish Jews in Argentina) published the book in 1956 in Buenos Aires as the 245-pageUn di velt hot geshvign(און די וועלט האָט געשוויגן‎; "And the World Remained Silent"). It was the 117th book in a 176-volume series of Yiddish memoirs of Poland and the war,Dos poylishe yidntum(Polish Jewry, 1946–1966).Ruth Wissewrites thatUn di Velt Hot Geshvignstood out from the rest of the series, which survivors wrote as memorials to their dead, as a "highly selective and isolating literary narrative".
In the late 1950s, Wiesel wrote a manuscript that he intended to turn into a special, expanded Hebrew-language version ofNight. However, before completion, Wiesel places the unfinished text in his archive, later discovered in 2016 by Wiesel's friend,Yoel Rappel, a historian and curator of his archive atBoston University.
The archived version included harsh criticisms of Jews who were too optimistic about the future, Jewish leaders who did not speak up, and Wiesel's Hungarian neighbors who "joyously watched the Jews" being deported. These were not included in the English-language version later published in 1960.
According to Rappel, this version ofNightwas intended for an Israeli audience, including survivors from Auschwitz and Buchenwald living in Israel.
Wiesel translatedUn di Velt Hot Geshvigninto French and in 1955 sent it to Mauriac. Even with Mauriac's help they had difficulty finding a publisher; Wiesel said they found it too morbid.Jérôme LindonofLes Éditions de Minuit,Samuel Beckett's publisher, agreed to handle it. Lindon edited the text down to 178 pages. Published asLa Nuit, a title chosen by Lindon, it had a preface by Mauriac and was dedicated to Chlomo, Sarah and Tzipora.
Wiesel's New York agent,Georges Borchardt, encountered the same difficulty finding a publisher in the United States.In 1960 Arthur Wang ofHill & Wangin New York—who Wiesel writes "believed in literature as others believe in God"—paid a $100 pro-forma advance and published that year a 116-page English translation by Stella Rodway asNight.The first 18 months saw 1,046 copies sell at $3 each, and it took three years to sell the first print run of 3,000 copies, but the book attracted interest from reviewers, leading to television interviews and meetings with literary figures likeSaul Bellow.
By 1997Nightwas selling 300,000 copies a year in the United States. By 2011 it had sold six million copies in that country, and was available in 30 languages.Sales increased in January 2006 when it was chosen forOprah's Book Club. Republished with a new translation by Marion Wiesel, Wiesel's wife, and a new preface by Wiesel, it sat at no. 1 inThe New York Timesbestseller list for paperback non-fiction for 18 months from 13 February 2006, until the newspaper removed it when a significant portion of sales were ascribed to educational usage rather than retail sales.It became the club's third bestseller to date, with over two million sales of the Book Club edition by May 2011.
Reviewers have had difficulty readingNightas an eyewitness account.According to literary scholar Gary Weissman, it has been categorized as a "novel/autobiography", "autobiographical novel", "non-fictional novel", "semi-fictional memoir", "fictional-autobiographical novel", "fictionalized autobiographical memoir", and "memoir-novel".Ellen Fine described it astémoignage(testimony).Wiesel called it his deposition.
Literary critic Ruth Franklin writes thatNight's impact stems from its minimalist construction. The 1954 Yiddish manuscript, at 862 pages, was a long and angry historical work. In preparing the Yiddish and then the French editions, Wiesel's editors pruned mercilessly.Franklin argues that the power of the narrative was achieved at the cost of literal truth, and that to insist that the work is purely factual is to ignore its literary sophistication.Holocaust scholarLawrence Langerargues similarly that Wiesel evokes, rather than describes: "Wiesel's account is ballasted with the freight of fiction: scenic organization, characterization through dialogue, periodic climaxes, elimination of superfluous or repetitive episodes, and especially an ability to arouse the empathy of his readers, which is an elusive ideal of the writer bound by fidelity to fact."
Franklin writes thatNightis the account of the 15-year-old Eliezer, a "semi-fictional construct", told by the 25-year-old Elie Wiesel. This allows the 15-year-old to tell his story from "the post-Holocaust vantage point" ofNight'sreaders.In a comparative analysis of the Yiddish and French texts,Naomi Seidman, professor of Jewish culture, concludes that there are two survivors in Wiesel's writing, a Yiddish and French. In re-writing rather than simply translatingUn di Velt Hot Geshvign, Wiesel replaced an angry survivor who regards "testimony as a refutation of what the Nazis did to the Jews," with one "haunted by death, whose primary complaint is directed against God ..."Nighttransformed the Holocaust into a religious event.
Seidman argues that the Yiddish version was for Jewish readers, who wanted to hear about revenge, but the anger was removed for the largely Christian readership of the French translation. In the Yiddish edition, for example, when Buchenwald was liberated: "Early the next day Jewish boys ran off to Weimar to steal clothing and potatoes. And to rape Germanshiksas[un tsu fargvaldikn daytshe shikses]. The historical commandment of revenge was not fulfilled." In the 1958 French and 1960 English editions, this became: "On the following morning, some of the young men went to Weimar to get some potatoes and clothes—and to sleep with girls [coucher avec des filles]. But of revenge, not a sign."
Oprah Winfrey's promotion ofNightcame at a difficult time for the genre of memoir, Franklin writes, after a previous book-club author,James Frey, was found to have fabricated parts of his autobiography,A Million Little Pieces(2003). She argues that Winfrey's choice ofNightmay have been intended to restore the book club's credibility.
Wiesel wrote in 1967 about a visit to arebbe(aHasidicrabbi) who he had not seen for 20 years. The rebbe is upset to learn that Wiesel has become a writer, and wants to know what he writes. "Stories," Wiesel tells him, " ... true stories":