Gwen Strauss is the author of The Hiding Game, a picture book for children about the work of her great-uncle and others who helped Jewish refugees escape from the Nazis during World War II. Her other work includes Ruth and the Green Book and The Night Shimmy, and she has written for various publications including The New Republic and the London Sunday Times. She lives in Southern France.
Q: Why did you decide to write this book about your
great-uncle’s work during World War II, and how much had you known about it as
you were growing up?
A: Growing up, in a family that had many war heroes, but not
a lot of talk about what had actually happened to them during the war, I heard
just vague references from my grandmother about her brother’s bravery.
There were a lot of artists around my grandmother who were
“friends of Danny’s during the war.” One of my grandmother’s closest friends
was Max Ernst, for example. Ernst was someone Danny [Bénédite] helped save and later
introduced to his sister.
I learned more about my great uncle Danny when I moved to
Paris in my mid-20s and I learned enough French to read his book, La filiere
marseillaise, which is a rather dry account of what Varian Fry and the rescue
committee did to save lives in 1940-41.
It’s also about the early organizations that would form the
Resistance, and the world of refugees desperate to get out of the closing
Gestapo net.
I met Danny a few times in Paris, but sadly he died only a
few years after I moved there. (I probably met him many times as a child, but
the huge loud French family kind of blurred.)
In my 20s in Paris, I became interested in his life. He
killed himself when he started to feel the oncoming Parkinson’s take away his
mental and physical health. I thought it was powerful that he was so determined
to choose the manner of his death. He fascinated me as a character at that
stage.
There was also a tragic love story, which held my focus. And
there are other more adult parts of Danny’s story that I hope someday to write
about.
What set me off to write a children’s book was one
particular visit to the U.S. Embassy in Marseille to renew my children’s
passports. Right there in the lobby is a huge photograph of Danny. I just
started to enthusiastically tell my kids, “That’s your great great Uncle
Danny! He was a hero!” They were embarrassed that I was being too loud.
But I realized they didn’t know the story, and as I tried to
tell it to them, I realized I needed to learn more. I have written several
other children’s books and so the thought just came then: there’s got to be a
good children’s book here.
Q: What kind of research did you need to do to write the
book?
A: I did a LOT of research. I knew the basic story but I
started to read all the books I could find on the subject. Books by Varian
Fry, by Danny, but also other people who were with them at the time.
And I read more recent historical books about Fry, the
rescue committee, and the refugee situation in Vichy France. I have a whole
bookshelf of books and documents. I went to a few symposiums and lectures in
Marseille. I talked to family members. I contacted Aube Breton.
I found a strange series of coincidences around this
research. I had moved to the south of France for my professional work. I run an
artist residency program in the historic Dora Maar House. Aube wrote me that
she visited that house many times as a little girl—she asked me if there were
still so many scorpions-- (there aren’t).
Her mother Jacqueline Lamda and Dora Maar were close
friends. As I read I saw that many of the artists that Danny and Varian hid,
they hid in my village and in the villages all around me.
The names of the characters are all around me, every day. I
was inside the history in a way I wasn’t when first reading Danny’s book in
Paris. It’s really a story of this region and suddenly this is my home. So that
made it all the more compelling.
I love research, and I could just do it all the time. But at
some point I have to start writing. And that’s when it got difficult. I spent
almost as much time crafting a story for children. I knew I couldn’t tell the
whole story—I didn’t want to—but I had to find some window into a part of it.
The right structure to fit the format of a picture book.
Aube and the Villa were a perfect small peek into the world of the rescue
committee. It took a lot of rewriting. Children’s picture books have pretty
rigid limitations, in page and word count, and vocabulary etc. So the story has
to be honed carefully.
I am grateful to several editors along the way. I had to
adjust the story- to make some of it fiction. For example, the real Aube
called her mother and father by their first names. They were surrealist artists
and non-conventional. So she did not call them maman and papa—but the editors
insisted as a children’s book Aube had to.
Q: What do you think Herb Leonhard’s illustrations add to
the book?
A: Herb was chosen by the art director Janice Shay, who was
very helpful to me in all the stages of this book. She worked closely with him
as he developed the art—this was after the text was pretty much written. But
occasionally seeing his illustrations I would suggest a change in the text.
I also had more experience with the “look” of the south of
France so I sent him reference pictures and ideas as he was working out the
sketches.
One reason I love doing children’s picture books is the joy
I feel when an artist creates a picture based on my words and it takes the
story so much further. It’s really magical. I stand in awe and amazement at how
much better the pictures make the story! I love the color palette and the
sketchy way he approached the subject.
Part of the challenge of writing a children’s picture book
is to structure a story arc that will make each spread have a dynamic
“illustratable” moment. But sometimes a spread just isn’t that dynamic, it may
be more subtle or emotional. Then I don’t know how the artist will show it.
Herb was able to make those more subtle moments visible,
such as when Aube is thinking about the people in the camps and she’s worried
about the cold and the snow.
Q: What do you hope readers take away from the story?
A: I think that when you write for children, mostly you want
to spark their curiosity, to get them to ask more questions.
As I began working on this story the refugee crisis around
the world exploded. The last time there was a crisis of this size was World War
II, though now, I think the numbers are much greater.
The majority of the world’s refugees are under 18. They are
children. The current refugee crisis IS a children’s story. I want the children
who read this book to have a way into imagining what that might mean to be a
refugee, to be fleeing for your life. To start to ask themselves, How would I
feel? What would I do?
I also feel that Varian Fry is an unlikely hero. He was a
Latin teacher. He simply saw something that he knew was wrong and decided to do
everything he could to help.
He knew about the death camps. He was the first person in
America to publish an article talking about the Final Solution in the New
Republic. He was ignored.
He also did what he knew was right against the odds, against
the wishes of his friends and supporters, against the demands of his country—he
broke the law, because the law was unjust. And he saved over 2000 lives.
His good deeds were largely unrecognized in his
lifetime. In fact when he returned home from France the office of the
Rescue Committee in New York fired him. He had done too much, they said. He was
too pushy.
I really am moved by his moral imperative. Why is someone
like that? What makes a person behave that way? What would I do?
Finally I really loved the artists’ response to fascism,
terror, and fear mongering. There is this idea that art is irrelevant in
extreme times, that in extremity people think only of food and shelter.
But I don’t think that’s completely true. What Breton and
the surrealists illustrated by their Sunday games, and with their insistence on
maintaining their creative lives, was that fear could not possess them. They
would remain free in spirit.
And that freedom expressed itself in collective joy and
laughter. The authoritarian destructive Nazi machine would not break them. (Even
in the camps, there are accounts again and again of people coming together to
create poems, songs, paintings, and theater.)
I hope the children become curious about these artists. At a
few of the readings I’ve done we have played Cadavre Esquise. Children love the
freedom of collective drawings.
I think the artists in this story show the way out of
darkness, artists are our leaders against totalitarianism. They show that fear
can’t stop us from living fully creative joyous lives. We live in extreme times,
so how should we keep hope alive? How do we maintain our humanity?
Q: What are you working on now?
A: I have gotten stuck in the World War II period. Danny
married a women named Helene many decades after the war (he divorced his wife
Theo soon after the war). Helene was arrested by the Gestapo at age 21,
tortured, water boarded, beaten, and sent to a series of concentration camps.
Three years later, she escaped with eight other women.
This past winter I retraced their escape route with my
daughter. I had interviewed Helene about her story before she died. One of the
women wrote a very short book about it, which I discovered a few years later.
Another woman wrote an article in Elle—but it was published
in the 60s, and I only recently found it online. And there’s a ten-minute
documentary of one of the women. So out of the nine women, I had found
four points of view of this same escape story.
I also only knew the names of these four women, but I knew
the nicknames of all nine. So slowly with research, and with the help of the
German historians we visited at the camps in Leipzig and Buchenwald, I have
been able to discover the identities of seven maybe even eight of the nine
women.
Each one of them has her own amazing story. They were
all young, beautiful, and politically active in the resistance. They had spent
at least two years in harrowing conditions of the camps. They had all been
tortured, etc. They were starving and traumatized. And they were able to escape
and survive together because of their tough friendship.
I am writing about this and thinking about it. It won’t
be for children. I am not yet sure what format it will be: novel, essay, or
script. But the process is really so wonderful. I am thinking a lot about
friendship and how essential it is, and was for these women.
But also how differently from men, groups of women organize
themselves and behave together. I think this helped women survive longer in the
camps.
Q: Anything else we should know?
A: I am working on the above project about the nine women,
but I often work on several projects in tandem. So I am also working out a
simple children’s picture book about a girl and her dog.
And I am working on a Young Adult novel, which is a thriller
ghost story, set in the medieval town next door, Lacoste. This is where
the ruins of the chateau of the Marquis de Sade are. So for this story I am
researching the violent periods of French history from the Dark Ages to the
Revolution.
Provence, where I live, is an idyllic bucolic place that is
also absolutely steeped in a bloody violent past. I’m kind of exploring that
contradiction for young adults!
Here's a link to a video about The Hiding Game.
--Interview with Deborah Kalb
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