{"id":54,"date":"2018-06-04T00:00:05","date_gmt":"2018-06-04T00:00:05","guid":{"rendered":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=podcast&#038;p=54"},"modified":"2020-07-10T18:17:23","modified_gmt":"2020-07-10T18:17:23","slug":"international-womens-day-a-storm-in-june","status":"publish","type":"podcast","link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/international-womens-day-a-storm-in-june\/","title":{"rendered":"International Women&#8217;s Day: A Storm In June"},"content":{"rendered":"<p>In the 1930s, Jewish Russian exile Ir\u00e8ne N\u00e9mirovsky was living in France as a well-established author. In 1940, that all changed. Hear about her life, death and the way her daughters carried on her legacy.<\/p>\n<p>&nbsp;<\/p>\n<p>This episode of part of a series on international women\u2019s history.<\/p>\n","protected":false},"excerpt":{"rendered":"In the 1930s, Jewish Russian exile Ir\u00e8ne N\u00e9mirovsky was living in France as a well-established author. In 1940, that all changed. Hear about her life, death and the way her daughters carried on her legacy. &nbsp; This episode of part of a series on international women\u2019s history.","protected":false},"author":13,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","episode_type":"audio","audio_file":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/06\/Death-and-Numbers-A-Storm-in-June.mp3","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"19.14M","filesize_raw":"20065808","date_recorded":"09-06-2018","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":""},"tags":[84,81,82,57,54,80,85,56,83],"categories":[],"series":[2],"class_list":{"0":"post-54","1":"podcast","2":"type-podcast","3":"status-publish","5":"tag-david-golder","6":"tag-denise-nemirovsky","7":"tag-elisabeth-nemirovsky","8":"tag-feminism","9":"tag-holocaust","10":"tag-irene-nemirovsky","11":"tag-the-watchtower-dreamed-memories","12":"tag-womens-history","13":"tag-wwii","14":"series-death-and-numbers","15":"entry"},"acf":{"related_episodes":"","hosts":[{"ID":579,"post_author":"40","post_date":"2020-06-25 17:19:39","post_date_gmt":"2020-06-25 17:19:39","post_content":"<!-- wp:paragraph -->\n<p><a rel=\"noreferrer noopener\" href=\"http:\/\/amyvidor.com\/\" target=\"_blank\">Amy\u00a0<\/a>is a\u00a0<a href=\"https:\/\/liberalarts.utexas.edu\/research\/mellon-esi\/\">postdoctoral fellow<\/a>\u00a0at the University of Texas at Austin (UT). She has a Ph.D. in Comparative Literature from UT, an M.A. in History and Literature from Columbia University, and B.A.s in English and French, and a Minor in Art History from the University of Southern California. Amy has taught college literature, writing, and foreign language courses. For the past five years she has worked as an educational consultant, coaching high school students through ACT\/SAT test prep, AP\/IB exams, college admissions, and more. For more on Amy\u2019s experience, see her resume.<\/p>\n<!-- \/wp:paragraph -->","post_title":"Amy Vidor","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"amy-vidor","to_ping":"","pinged":"","post_modified":"2020-06-25 17:19:39","post_modified_gmt":"2020-06-25 17:19:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=579","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":582,"post_author":"40","post_date":"2020-06-25 17:28:14","post_date_gmt":"2020-06-25 17:28:14","post_content":"<!-- wp:heading {\"level\":3} -->\n<h3>Publications<\/h3>\n<!-- \/wp:heading -->\n\n<!-- wp:list -->\n<ul><li><a href=\"https:\/\/www.linkedin.com\/redir\/redirect?url=https%3A%2F%2Fhumanitiesmediaproject%2Eorg%2Fdeath-numbers-food-thought-ep-1%2F&amp;urlhash=G3ro&amp;trk=public_profile_publication-title\">The Legacy of French Cooking<\/a><\/li><li>Humanities Media Project and Liberal Arts Instructional <\/li><li>In this special three-part series of Death &amp; Numbers, we\u2019re cracking open cookbooks and archival records to learn about the bond between food and text. In episode 1, we pair a largely forgotten 17th century French cookbook with Julia Child\u2019s classic cookbook \"Mastering the Art of French Cooking\" to consider how food writing shapes cultural transmission.<\/li><\/ul>\n<!-- \/wp:list -->","post_title":"Caroline Barta","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"caroline-barta","to_ping":"","pinged":"","post_modified":"2020-06-25 17:28:14","post_modified_gmt":"2020-06-25 17:28:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=582","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"guests":"","transcript":"<p>Here is the problem I have learned that your government has decided to take measures against<br \/>\n\ue5d4<br \/>\nstateless persons. I am greatly distressed by the fate that awaits us.<br \/>\nMy husband and I were born in Russia and our parents immigrated during the revolution.<br \/>\nOur two children are French. We have been living in France for 20 years and<br \/>\nwe have never left the country. I cannot believe, sir, that no distinction is made<br \/>\nbetween the undesirable and the honorable foreigners, those who have done everything<br \/>\npossible to deserve the royal welcome France has given them. I therefore ask<br \/>\nfor your kindness in including me and my family in the latter category of people so that<br \/>\nwe can reside freely in France and so that I may continue to exercise my profession<br \/>\nas a novelist. In this episode<br \/>\nof Death in Numbers, part of a series on international women&#8217;s history, we talk about author<br \/>\nof Random Robiskie who wrote this letter in 1942 to Marshall Payton,<br \/>\nthe head of the Vichy government. She attempted to present herself as an honorable French woman<br \/>\nin order to save herself and her family. This was not<br \/>\nthe first time nemirovsky family had been targeted in 1917. Her upper class<br \/>\nbanking family fled Russia, terrified they would be targeted by the communist revolutionaries<br \/>\nexiled in France. nemirovsky thrived. By the 1930s, she was a well-established<br \/>\nauthor in the country, capable of living by her pen. She had assimilated into Parisian<br \/>\nsociety and surrounded herself with the literary elite. Although she never received citizenship,<br \/>\nshe considered herself French and chose to write in the language of her adopted country.<br \/>\nBy June 14th, 1940, that all changed. As Nazis<br \/>\nmarched into Paris, the French government relocated to a quaint southern spa town<br \/>\nknown as Vichy. For the next four years, the Vichy government would collaborate with their<br \/>\nNazi occupiers to systematically remove all Jews from their country. Beginning<br \/>\nwith the foreign Jews. And this is why a random Barofsky was concerned<br \/>\nfor what she neglects to mention in her letter to Marshall Peyton is that in addition to being a<br \/>\nRussian immigrant, nemirovsky and her husband, Michael EPSTEIN, were Jews.<br \/>\nFurthermore, the two were no longer solvent. All Jewish bank accounts in France had<br \/>\nbeen seized by the Vichy government, and the auto list of July 1942<br \/>\nbanned nemirovsky from publishing within France. Essentially, the family had neither access<br \/>\nto money nor the means to earn it. Unfortunately, there<br \/>\nis no simple explanation as to why nemirovsky neglected to mention her Jewish status and her letter<br \/>\nto Marshall Payton. Perhaps it is because she did not consider herself particularly religious.<br \/>\nShe never practiced Judaism and sought to suppress any connection she had to the Jewish community.<br \/>\nWhen she moved to Paris. Or maybe because she had converted to Catholicism in 1939,<br \/>\nbelieving the conversion would protect her children from religious persecution. While her<br \/>\nrelationship with her Jewish identity is bewildering, nemirovsky was determined to be identified<br \/>\nas a member of the Parisian literary elite. To best understand nemirovsky,<br \/>\nperhaps we should turn to her novels. Her success stemmed from several factors.<br \/>\nShe had a critical view of the world, both in the public and private sphere. Her style,<br \/>\nfrankly, confronted the world around her, attracting many admirers, but also many critics.<br \/>\nDavid Golder was her first novel published in 1928. It follows the titular<br \/>\ncharacter, a Russian Jew born on the Black Sea. As he gains his wealth through a career of speculation,<br \/>\nGolder is described as greedy and cruel with a hooked nose, a stereotypical portrait<br \/>\nof the contemporary Jewish man. The novel&#8217;s prose is ruthless. Her writing<br \/>\ncoldly presents this cross-section of European society, fueled by self-interest.<br \/>\nThis novel, as well as later writings and anti-Semetic magazines, led to nemirovsky<br \/>\nbeing labeled a self-hating Jew. In 2008, the Museum of Jewish Art and History<br \/>\nin Paris even refused to host an exhibition of her writing. The director of<br \/>\nthe museum justified her decision by accusing nemirovsky of self-hatred.<br \/>\nnemirovsky is relationship with the Jewish community is complicated, but there is evidence that she may<br \/>\nhave had some remorse for the depiction of Jews in her earlier works as a result of the political<br \/>\nshifts in Jews civil statuses in the 1930s. When interviewed in 1935<br \/>\nabout David Golder, which had been published seven years earlier, nemirovsky said<br \/>\nIt is absolutely certain that had there been Hitler, I would have greatly softened David<br \/>\nGolder, and I would not have written it in the same way. And yet I would have been wrong.<br \/>\nIt would have been a weakness unworthy of a real writer. As demonstrated<br \/>\nby this interview, her allegiance was to the literary community. She was not interested in recanting<br \/>\nthe portraits in the novel. Despite their political incorrectness, nor was she interested<br \/>\nin what John Paul Sartre famously described as engaged literature. She explained the<br \/>\ndecision to distance herself from politicized literature, saying, I have lived at least half<br \/>\nmy life under the threat of revolutionary disturbances, threats which have frequently become reality.<br \/>\nIn any case, you never know what tomorrow will bring. The good thing about work is that it makes you forget<br \/>\nfor nemirovsky. Literature was an escape from politics, even the politics of her identity.<br \/>\nAnd yet not even her writing could distance her from persecution for her Jewishness.<br \/>\nWithin the period of two years, nemirovsky went from an independent, self-sufficient and<br \/>\nacclaimed author to attract refugees in her adopted country, exiled from all<br \/>\nthat she considered home. nemirovsky focused her efforts on documenting the society that had morphed<br \/>\nin a few short years from one of strength and liberty to one of chaos and fear.<br \/>\nIn her manuscript for a new novel that is until July 13th, 1942,<br \/>\nwhen there was a knock on the door. She knew why the police had come. But<br \/>\nthere were no tears, Denise recalled. She just told me to look after my father.<br \/>\nShe said farewell to us. But I had no idea it was the final farewell. The last<br \/>\ntime I would see my mother. Betrayed by her neighbors to local police,<br \/>\na random Borowski was arrested and deported to the pit fear concentration camp on the charge<br \/>\nof being a foreign Jew. Eventually, the Nazis transported her to Auschwitz, where she died<br \/>\nof typhus shortly after her husband was deported and killed. They<br \/>\nleft behind two daughters, deniece and Elisabet. By 1944,<br \/>\nan estimated seventy seven thousand French Jewish residents had been deported to Nazi concentration<br \/>\nand extermination camps. Few survived the Holocaust with the aid of others<br \/>\nand pure chance. Both of nemirovsky daughter survived. Before Michael<br \/>\nEPSTEIN was arrested, he left his daughters a suitcase filled with a notebook in<br \/>\ntheir mother&#8217;s handwriting. Fearing the anguish she would bring them to read their dead mother&#8217;s<br \/>\ndiary, the suitcase remained in the care of a notary for half a century.<br \/>\nThat is, until the early 1990s, deniece began reading and discovered the notebook<br \/>\nwas more than just a diary. It was the contents of a novel, Sweetcorn says.<br \/>\nNow too fragile for display. The leather bound notebook has a simple embossed border<br \/>\nand the initials i.e. Iran EPSTEIN, her married name and the upper left<br \/>\nhand corner as both paper and ink were scarce. nemirovsky handwriting is cramped.<br \/>\nThere are 201 pages to the manuscript, which typed amount to an over 500<br \/>\npage novel. It alternates between black and blue ink and keeps the minimal space necessary<br \/>\nbetween lines only indenting for new chapters and to indicate speech. Nearly<br \/>\nhalf of each page is crossed out. Denise took the unfinished manuscript and set<br \/>\nit to type the completed chapters Storm in June and Dolce<br \/>\nwere part of an intended five chapter volume. The last three chapters were drafted as<br \/>\ncaptivity, war and peace. Paris had<br \/>\nits sweetest smell, the smell of chestnut trees in bloom and of petrol with a few grains<br \/>\nof dust to crack under your teeth like pepper in the darkness. The danger seemed to grow.<br \/>\nYou could smell the suffering in the air, in the silence. Everyone looked at their house and thought.<br \/>\nTomorrow it will be in ruins. Tomorrow I&#8217;ll have nothing left.<br \/>\nDespite its incomplete status, Sweet Fun says is a harrowingly intimate portrait of the effects<br \/>\nof Nazi occupation on French residents. A well preserved time capsule providing<br \/>\na glimpse into the period through an emphasis on the quotidian. It reveals that the panoply<br \/>\nof reactions to the occupation was the result not only of socioeconomic status,<br \/>\nbut also of human nature. Demonstrating how fear and the desire for self-preservation<br \/>\npredominated. A desire to resist oppression for the greater good.<br \/>\nPublished in 2004. Sweet Front says became a bestseller claiming the prestigious<br \/>\nliterary prize, The Pre Hundo. And it was translated into over 30 languages.<br \/>\nSpending two years atop the New York Times bestseller list. While the niece<br \/>\npoured two years into the publication of her mother&#8217;s final novel, her sister Elisabet<br \/>\ndecided to work through her grief by writing. As a member of what Susan Sooliman<br \/>\ndescribes as the 1.5 generation child survivors of the Holocaust,<br \/>\ntoo young to have had an adult understanding of what was happening to them. But old enough to have been there<br \/>\nduring the Nazi persecution of Jews. Elisabet is trapped between generations of experience.<br \/>\nAt the time of her parents deportation, she was five years old, old enough to remember,<br \/>\nbut too young to understand. In the early 1990s, Elisabet<br \/>\nwrote the novel The Watchtower Dreamed Memories and what she began to work through these<br \/>\nrecollections by taking on the voice of her deceased mother. Marketed as a memoir,<br \/>\nThe Watchtower is divided into two parts. The first is titled Eran nemirovsky<br \/>\nNovember 1929 and the second Eran nemirovsky June<br \/>\nthe voice of her mother as if it were an autobiography. Interspersed<br \/>\nbetween chapters of these two parts are flashbacks to Elisabet childhood.<br \/>\nElisabetta distances herself from her own experiences by writing in a third person,<br \/>\nfor the imagined memories be narrated are not only those of her mother, but also<br \/>\nof her younger self. In the process of writing the novel, Elizabeth partakes<br \/>\nin both her mother&#8217;s and her own trauma. The novel serves as a form of atonement for her<br \/>\nmother&#8217;s self-hating Jewishness, but also a form of catharsis for the trauma of being orphaned<br \/>\nby the Holocaust and having to come to terms with her French Jewish identity. Elizabeth<br \/>\ndefends her mother in writing In the Watchtower. She fabricates a scenario of remorse<br \/>\nfor her mother&#8217;s self-hating Jewishness. She imagines her mother reflecting on David Golder and realizing<br \/>\nthat I am seized at times by a kind of vertigo as I repent. Having<br \/>\nwritten that book, I wonder if by excoriating the social Muryou from which I had<br \/>\ncome and which I hated, so I have furnished anti-Semites with ammunition.<br \/>\nI wonder whether I gave proof of a suicidal flight. Yoenis and thoughtlessness<br \/>\nin this one scene, Elisabet insinuates that surely her mother would have felt these sentiments<br \/>\nonce she recognized that Jews were being systematically persecuted, while nemirovsky sentiments<br \/>\nabout her Jewish identity can only be the subject of speculation. Elisa Betts feelings about<br \/>\nthem have been made clear in 1992 while promoting the Watchtower. She criticized<br \/>\nher mother&#8217;s literary decisions, writing her blindness was criminal. During the<br \/>\nof poor Jews in the working class areas of Paris. This frustration with her mother<br \/>\ncan be understood in the context of Elisabet working through her own French Jewish identity<br \/>\nand the suffering she endured as a result of it. In one of the novel&#8217;s flashbacks, dated April<br \/>\na Jew? She is haunted by her Jewish identity, particularly after reading Sartre&#8217;s<br \/>\nAnti Semite and the Jew. While Sartre agrees that a Jew is defined in relation to<br \/>\nothers, someone is only a Jew to the extent that society considers them a Jew.<br \/>\nIt is a better cannot agree. Instead, she desires a connection with the Jewish people that she<br \/>\ncannot comprehend, especially as she is an atheist. So this is the answer.<br \/>\nAre we only Jewish in the eyes of the other? She wants to understand. But the safty<br \/>\nan explanation cannot explain the powerful sense of belonging she has recently begun to feel.<br \/>\nDespite being an atheist, this powerful sense of pride at belonging to a people who,<br \/>\ndespite persecutions and massacres, never cease to procreate. Even in sadness.<br \/>\nA significant portion of her flashbacks is dedicated to moments like these questioning her position<br \/>\nas a Jew in France. As her mother must have done. And working through these questions<br \/>\nabout her mother and her Jewish identity, Elizabeth is also reliving the traumatic experience<br \/>\nof being orphaned at five years old. Coupled with the loss of her parents is the rejection<br \/>\nby her maternal grandmother following the war&#8217;s end in January nineteen forty five.<br \/>\nElisabet and Denise were brought out of hiding to the house of Nemeroff Ski&#8217;s mother, fanni.<br \/>\nHowever, the response they receive is not a welcoming one described as a wolf<br \/>\nwith a strong Russian accent. The lack of compassion fanni demonstrates for our orphaned grandchildren.<br \/>\nIt&#8217;s painful to witness, suggesting that the unfortunate duo be placed in an institution<br \/>\nfor deaths to children instead of taking them in. When she had the means to do so<br \/>\nhaunts Elizabeth&#8217;s memories. Instead of being raised by family, the sisters<br \/>\nare abandoned by their last living relative. Elisabet continues to confront<br \/>\nmoments such as these in her writing in the entry dated December 1956.<br \/>\nShe recalls the child emerges from the cinema, blinded by her tears<br \/>\non a whim. She had gone alone to see night and fog. This is the first time she has<br \/>\nfaltered. Until now, she had stubbornly refused to know.<br \/>\nJust as she had come to terms with her mother&#8217;s anti-Semitic writings, she, too, had to come to terms<br \/>\nwith the horrors of her parents murders. Understanding was the most painful act for Elisabet<br \/>\nthe knowledge of the death camps. Her mother&#8217;s perfections. Her grandmother&#8217;s rejection.<br \/>\nEach of these brief moments provides a glimpse into the residual effects of her trauma that she attempted to work<br \/>\nthrough in her writing. The Watchtower ends with an entry dating October nineteen<br \/>\nninety one with the following quote. Her children,<br \/>\ndeniece and Elisabet, who were arrested with their father, were saved.<br \/>\nAcknowledging both the random and haphazard nature of her survival, Elisabet concluded her<br \/>\ntransgender narrative determined to be finished with her story and to let history speak<br \/>\nmoving forward.<br \/>\nThis has been Death in Numbers, a podcast created and produced by the Humanities Media Project<br \/>\nand the College of Liberal Arts at U.T. Austin and Liberal Arts Instructional Technology Services,<br \/>\nwhere Amy Vidar and Caroline Baabda notes for the show, including links and photos can be found on<br \/>\nour Web site. Humanities Media Project, Dawg. Our theme music is enthusiast<br \/>\nby Tourre&#8217;s. Thank you for listening.<\/p>\n"},"episode_featured_image":false,"episode_player_image":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/03\/DeathandNumbers.jpg","download_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-download\/54\/international-womens-day-a-storm-in-june.mp3","player_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/54\/international-womens-day-a-storm-in-june.mp3","audio_player":"<audio class=\"wp-audio-shortcode\" id=\"audio-54-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/54\/international-womens-day-a-storm-in-june.mp3?_=1\" \/><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/54\/international-womens-day-a-storm-in-june.mp3\">https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/54\/international-womens-day-a-storm-in-june.mp3<\/a><\/audio>","episode_data":{"playerMode":"dark","subscribeUrls":[],"rssFeedUrl":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/feed\/podcast\/death-and-numbers","embedCode":"<blockquote class=\"wp-embedded-content\" data-secret=\"tZoqxiivKr\"><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/international-womens-day-a-storm-in-june\/\">International Women&#8217;s Day: A Storm In June<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/international-womens-day-a-storm-in-june\/embed\/#?secret=tZoqxiivKr\" width=\"500\" height=\"350\" title=\"&#8220;International Women&#8217;s Day: A Storm In June&#8221; &#8212; Death and Numbers\" data-secret=\"tZoqxiivKr\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! 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