Kristallnacht 80 years on: some reading to help make sense of the most notorious state-sponsored pog



On the evening of November 9 1938 a Nazi pogrom raged across German and Austrian cities. Nazis branded the atrocity with a poetic term: Kristallnacht or “Crystal Night”. In that branding, fiction took hold. In English it translates as “The Night of Broken Glass” but that also tames the horror. Yes, broken glass from Jewish shopfront windows littered the streets, but also hundreds of synagogues and Jewish businesses were burned to the ground while Jews were beaten, imprisoned and killed.

Eight decades later, novelists are still trying to make sense of the pogrom – which was was designed to give the Nazi Party’s antisemitic agenda the legitimacy of public support.

Kristallnacht marked a new epoch. Earlier pogroms, such as in Russia, were popular riots – now, for the first time, an industrial nation turned the forces of the state against an ethnic group within its own borders. To get away with this, a state needs to control the narrative. In this instance, propaganda minister Joseph Goebbels was the key player. When a young Polish Jew named Herschel Grynszpan entered the German Embassy in Paris and shot a German official, Goebbels saw the possibilities. He used news of the event to trigger Kristallnacht.


Fear and disbelief The state that attacks its citizens also turns on its writers and free-thinkers – people who can construct a counter-narrative. The future Nobel Prize-winner Elias Canetti and his wife, the writer Veza, were such people. “We shall remember this November”, a Jewish character reflects in Veza Canetti’s novel The Tortoises, “when we are all being punished because a child went wrong and was led astray”.

In the wake of Kristallnacht, the Canettis fled Vienna for Paris and by January 1939 had settled in exile in London, where, in a feverish three months, Veza wrote her novel (unpublished until this century). It provides a window on how intellectuals fought to understand the unimaginable as it unfolded. “The temples are burning!” says one character. “Can you believe that’s possible?” asks another. So why don’t they go and see for themselves? “People haven’t the heart. They feel like criminals. They believe the temple will strike them down if they watch and don’t do anything about it.”


Emil and Karl, the first published novel to feature the pogrom, came out in New York in February 1940. Yankev Glatshteyn, a Polish Jew and immigrant to the US, wrote it in Yiddish to alert American Jewish youngsters to the perils facing their European kindred. It features two friends, one a Jewish boy and the other the son of socialists. Forced to scrub streets clean with their hands after Kristallnacht, both boys learn they must flee their country if they are to stay alive.


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