MODULE C – History and Memory

Sample 1

How has your understanding of events, personalities or situations been shaped by their representations in the texts you have studied. Refer to your prescribed text and at least TWO other related texts of your own choosing.

History can be defined as “the methodical record of public events” where memory is defined as “the faculty by which events are recalled or kept in mind”. Thus history and memory interrelate as history can be seen as the contextual justification for memory. “The Fiftieth Gate” is a poignant interweaving of history and memory. The text follows protagonist, Mark Baker an historian, son of Holocaust survivors Genia and Yossl (Joe), on an historical journey through memory, to uncover the origins of his past and act as a catalyst for future generations to also connect with their history. Mark Baker’s journey through history and memory is also executed through his conventional ideas that memory is biased and less valid than history. There are numerous references to the discrepancies between the personal memories of his parents and the documented history Mark as an historian believes. In this way it is apparent that Mark is on a quest for verification, “my facts from the past are different”. This displays the flaw Mark traditionally notes in memory and his need for historical evidence.

As responders accompany Mark on his journey, they also encounter the complexity of simultaneously being a son and an historian. This attested via the following when Mark collates his parent’s memories with documented historical evidence “His was a past written on a page…mother couldn’t point to anyone”. This quote represents the way Mark requires documented evidence, history. This is because he believed his father’s memories only when had had evidence and didn’t believe his mother as she was the sole survivor in the town and could not provide documented evidence to verify her memories. As the text progresses, Mark does discover testimony of an SS soldier that justified her account, “found something at last… it’s really true”. Through this quote, responders perceive the significance of history and memory. Responders also decipher memory’s ability to add a third dimension of individual emotion and experience to documented history as the supportive historical evidence corresponds with individual memory and allows such emotion to be expressed as this third dimension. This quote also highlights evidence of post modernity. Mark begins to question and challenge his original ides about history, memory and their significance. He challenges the nature to believe that only history is valid as he explores personal accounts – memory, into the discourse of history.

Baker utilises various literary techniques that emulsify the underlying ideas present in the text. Mark adapts a non – linear chronology using time techniques to create fragmentation, he includes flashbacks of memory, to replicate the nature of memory and it’s incoherent fragments. This is evident when Genia flashes back in Gate VIII to her remembrance of the church “ I use to play there on the hills with a sleigh”
The text is structured in fifty gates. Each gate represents a new door, which when opened grows closer and closer to unlocking the past using a combination of history and memory. This is notable in Gate X that blends Genia’s recollection of a man who sold land to her father with a historical artifact about the ‘Krochmal fields’ in Botszowce. This quote represents the interweaving of history and memory and represents the progression of the journey within the text. It also interplays post modernity as it challenges traditional perceptions of history, through it’s correspondence with memory.

Baker also expresses the effect of memory on everyday life using irony. This is decipherable in the following, “what would you remember before you were eight? I wish I could forget what I remember”. Responders may note that Genia’s wish to forget about this memory explains this recollection still affects her presently. It also is ironic given the value of memory on the journey within this text and her willingness to forget the memories that are her past. As a result of such traumatic memories, it is also evident that the memories are tainted by her willingness to forget. Negative aspects of memories are what is remembered and emulsified, and positive aspects are possibly lost.

Sample 2

The Fiftieth Gate by Mark Baker suggests that a combination of history and memory is essential in making meaning, i.e. in shaping perceptions of the world around us. How does baker represent this combination to create meaning?

History can be viewed as a sequential series of indisputable events, whereas memory is of such events that are highly subjective, and affect the way in which they are perceived. The link between history and memory and the way it shapes the world around us, is a component of past and present. We are shown this throughout the prescribed text, The Fiftieth Gate, where through bakers quest we see the past continually impacting on the present, as the memories of the past affect those who have endured it. This key concept is also represented in the Channel Seven documentary, ‘Zero Hour- Disaster at Chernobyl’ and ‘Anzac Day commemorative Issue’, released by the Bulletin, 26th April 2005. All three texts show the affects of history and memory that has subsequently altered perspective on life, “History begins with its memories”.

Within the prescribed text, the composer, Mark Baker, conveys how history and memory help shape the way we perceive things in our own world. Bakers search for identity throughout the book adds depth to the meanings that are communicated to the responder. The audience understands that are the beginning of his journey, Baker is metaphorically in the dark about his parent’s identity, “it always begins in blackness, until the first light illuminates the hidden fragment of memory”. Baker discusses the dark and light nature of his parent’s memories and hoe these memories have affected him throughout his existence, “And I sing them to: sleep my dear parents but do not dream, tomorrow your children will shed your tears, tuck your memories in bed and say goodnight”. Through imagery, Baker represents how the Holocaust experience has helped shape himself, his family and its habits and traditions, “my grandfather, Leo, would sit in a corner of his living room in Melbourne, surrounded by imitation German furniture.” His parent’s memories are hidden, deep within them, a way of coping with the nightmares of the events that occurred, “I wish I could forget what I remember.” The distorted memories may be due to burdened minds, trying to live again, away from the blackness of their early life. Whatever the reason may be, these lapses in memory posed a problem for Baker as he tries to immerse himself in his parents history, so that he too can reach an understanding of who he is, “I knew I has to wrap myself up in the details of her story, if only to immunize myself against the secret thing that lay there, threatening me beneath her bright clothes and lipstick”. Only then when Baker discovers who he is, and where he came from will he emerge into a “stream of light”.

For the duration of Bakers quest for self validation, Baker has to deal with the historian and the son to bring his parents to “open the gate” and let the memories flood back. As the book develops, one can see the authors growing obsession with finding validation and truth to those memories, as his search for proof is fuelled with the desire to uncover who he is. To discover the integrity of his parent’s memories, Baker tries to fill in the shady memory gaps by savagely searching for the historical documentation to prove the memories, “18th December 1923 at 2pm”. His search for proof grows until his parents words are not enough, the process of verification brings him to shame, each memory needs a tacit approval of an archival record or corroborating story, “Details, details. Fecks, Fecks”. As the text progresses, Baker discovers a testimony of an SS soldier that justified his mothers account, “found something at last… its really true!” Through this exclamatory statement, the responder perceives the significance if history and memory and how historical evidence corresponds with individual memory “Its perspective I value”.

The need for factual evidence and validation is also seen in the text, Zero Hour- Disaster at Chernobyl a channel seven documentary on the calamity which occurred on April 26th 1986 at the Chernobyl Nuclear Power Station. This event was a major historical incident which had vast implications after the day the disaster took place. The documentary depicts the history of that event and retells the story through reenactment and through the memories of those who have, and still are enduring it. Both history and memory are key in retelling a true representation of the event.

The director, Richard Doyalson utilizes a variety of techniques to represent the integral interweaving of history and memory. Memory is represented by the recollections of those who survived the traumatic event, “the sight of my dead friends, their faces burnt by the radiation, amongst the rubble, I will never forget”. The description and expression of emotion assists in creating a third dimension of memory, as it adds emotion and personal experience. The responder is clearly aware that even though the disaster was years ago, the event still affects survivors, both physically and mentally, they cannot be free of what the saw, what they endured or what it did to them physically, “that night lives in my body and in my memory”.

History is represented on many levels throughout the text. The responder is shown how the explosion of the reactor was the catalyst of the breakdown of the Soviet Union, Communism and the Cold War. This is conveyed by the video footage showing the historical evidence of these episodes. History is then depicted through the history of the Power Station and what went wrong in order for a catastrophe of this magnitude to happen. Documentation provides factual evidence and knowledge of why and how it happened, “when undertaking safety tests, reactor 4 cannot withstand less than 200”. The document may be accurate, but they lack emotion, the composer entwines historical documentation and information, “10 times the amount of nuclear fuel than Hiroshima” with historical photographs of affected children to change the tone of the text as it helps the audience to emotionally connect with those whose lives have changed forever, “I will never see my daughter grow up”.

The Bulletins, Anzac Day Commemorative Issue honors the 90th Anniversary of Gallipoli. The Gallipoli campaign of 1915 ended in stalemate and humiliating withdrawal by Britain and its allies. The issue has various articles which depict different viewpoints through the collaboration of history and memory. That time in history was too forever shake the foundations of Australian culture and live in the memories of Australian society, past, present and future, “that’s why the Aussies and the Turks like each other – we made our futures in the same place”.

The articles all provide historical evidence of the “fateful day on April 25th 1915”. This is done through historical information and the use of photographic verification. The photographs send a very dramatic, emotional tone to the reader as they can see and acknowledge the faces and the individuals of the troops at Gallopoli, and personalize the photographs by imagery of troops wearing Australian flag. For Australian readers this is bound to give a much more significant and astounding feeling. Throughout the text there are many allusions to places and dates, “On March 18th, the naval assault in the Dardanelle’s culminated in disaster. One third of the fleet was sunk or disabled with the loss of 700 men”. This piece of historical documentation is then juxtaposed by a photograph of the warship, again providing the responder to emotionally connect with the events that were endured by the troops.

Memory is ubiquitous amongst the text. For a clear depiction and truthful account, the composer realizes that memory is essential for establishing both truth and meaning. Memory is key in portraying the affect that the war had on those who lived through it, “if they had and Australian in charge, we may have won, I may have come home earlier, to you”. The article provides a place of awareness, not merely of factual truth, but the truth of one’s own perceptions and significance in the collective perceptions of others. The significance of the interweaving history and memory state how troops lived with their memories and as Australians, we have built more from their lives than their experience and memories would suggest possible for them, “I don’t know what my daughter will make of the place and its story. But I think those rows of headstones scattered across the peninsula will grasp at her heart”.

Memory lives within history binding the creator to their social preconditions; it shapes and constructs, dictates their function and demands their superiority. The two cannot be separated, memory binds interpretation. The strength of history lies in its reception through personal nature of communication and demands that we select which is pertinent to our own experience. This concept is manifested through the integration of history and memory within the texts discussed.

Sample 3

Differing and personal opinions, reflections and experiences of events can provoke great debate in the way in which history is recorded and interpreted.
History, which can be viewed as a chronological series of indisputable events can often conflict with the memories that creates, validates, illuminates and humanises it. Both history and memory can be unreliable, as memories are highly subjective and vary due to perspective, and in being intertwined effect the way which these events are recorded. The three texts, ‘The Fiftieth Gate’, ‘Ozymadias’ and ‘The Bridge on the River Kwai’ all emphasise these points. Through this, I have discovered that memory gives history a personal perspective, that both history and memory can distort as well as illuminate and that history is a product of an historian's personal representations of a selection of memories, not an absolute truth.

Memory gives history a personal perspective that is necessary in understanding the historical value and meaning of both the past and the present. It is through a personal perspective of history that enables discovery and journeys to occur of self awareness and appreciation not only of the past but also how it has effected and created the present.
This is clearly illustrated in Mark Baker’s ‘The Fiftieth Gate’, which tells of a journey of self-discovery and awareness in the search for the understanding of the past. Travelling to his parent’s homeland of Poland, Baker is taken through a journey of historical events through his parent’s own personal memories of the holocaust. We see through Baker’s visit to Treblinka and the video recordings of his parent’s memories of the holocaust, that these memories and experiences of his parents, gives him a personal perspective and understanding of historical locations and the holocaust. On his visit to Treblinka, Baker comes to a more personal understanding of the effect that this has had on his parents.. Baker visits the infamous concentration camp and listens to the recital of a Hebrew verse “here in this carload I am eve with abel my son. If you see my other son cain son of man tell him that I”. Baker is able to understand this verse and find value in its meaning through his father, Yossl’s memories. Yossl’s own mother and sisters were taken away by train, and it is through Bakers personal connection, he is able to find value and understanding of this.
Bakers video recordings of his parent’s memories, show the highly personal aspect of historical events and show their own personal emotions in the facts of the holocaust, such as revenge, pain, grief. ”I didn’t know where I was. The Germans threw bread into our wagons and people jumped on it like hungry animals, one on top of the other. People killed each other for a bit of food”.
These memories give Baker a deep and personal understanding of the holocaust, and in visiting historical locations allows him to come to a better understanding of his parent’s ordeals. We see through the text that Baker’s understanding of his parent’s past allows him to not only understand their present attitudes and values but also his own past and present feelings and values of his parents history. “ I realise how deeply buried is his pain. I have always pitied myself for the grandparents I do not have, rarely considering my father’s own orphaned state”.

Without this personal perspective of history and without the memories we find that history will also loose its significance and importance. We see this through P.C Shelly’s ‘Ozymandias’, a poem of the incomplete, in which the importance of memory is suggested in keeping history alive. The poem depicts the insignificance of the individual in history, how once memories of the past are lost they cease to exist
Shelly emphasises this using sonnet form, descriptive language and irony to describe the desolation surrounding the once great king. Words such as “ shattered visage”, “half sunk”, “decay”, “colossal wreck” all show how the great has come to nothing with the absence of memories and personal perspective. Shelly uses irony to contrast the past with the present, stating that memories form a link between the past and the present and without this link, the individual is insignificant. “nothing beside remains. Round the decay of that colossal wreck, boundless and bare, the lone and level sand stretch far away” is ironic with the plaque that reads “look on my works, ye mighty, and despair!”.

Both history and memory can distort as well as illuminate. Memories can be inaccurate and often falter in recalling the events precisely as they happened. How an event occurred, and ones perception of that event can be two entirely different things based on the person’s personal experiences. This can effect the way in which history is recorded and interpreted, as historical events may not be cohesive with the way an individual remembers. In “The Fiftieth Gate” we see the discrepancies that can occur when memories do not match up to the facts. Genia’s memories distort reality when they return to her hometown of Bolszowce where she becomes disoriented. Baker compares her memories with reality to emphasise this. “ I remember where we lived in Bolszowce. This must be the park. No? I played here, I’m sure it was here. Follow me there must be a gate…the gate, I don’t see the gate. My god how its changed”. Genia’s memories of believing that she was kept in the dark during the holocaust also emphasise the idea of distortion. ”In a cellar all day, underground and closed, and nothing, in the darkness, all the time”. Baker finds out from the people that she had stayed with, that she hadn’t been kept in the dark at all. “ But they do not remember the blackness. They recall a little girl staring endlessly out of a window”. Part of Baker’s journey is the understanding of the role that memory has in history. Baker realises that although his mother’s memories don’t match up to the historical evidence, it was her perception of this time in her life and her feelings that shape her memories. Her believing that she was kept in the dark is linked to being kept hidden and the feeling that accompanied this. This is very similar to Yossl’s recount of the day he last saw his mother and sisters, and was sent to work at a prison camp and also illustrates how his perception of the past differs from fact. He remembers marching and it being very cold “It was cold, winter, we had winter boots on, the ones with money sewn inside”. The date though as Baker discovers reveals something different. “He says it was cold. Winter. But it was autumn”

Memory also has the ability to illuminate and emphasise certain aspects of history. This is shown in Pablo Picasso’s painting ‘Guernica’, a reflection and expression of the rage, pain and suffering that occurred consequently when on the 26th of April 1937 German planes dropped 100, 000 tons of bombs on Guernica, a small Spanish civilian town. Picasso’s painting became part of a collective conscienousness, defining the 20th century’s image of war and destruction. Through symbolism of monochromatic colour scheme and images of death (detcapitaded body), destruction (broken light bulb) and grotesque suffering (speared horse, splayed fingers and toes), Picasso illuminates his personal interperation of the event and makes a personal historic source, contributing to the way in which people remember and reflect.

History is a product of an historian's personal representations of a selection of memories not an entirety. The link between history and memory is the way in which human experiences are perceived. Not all representations of the past can be recorded and it is through the historian's perceptions and personal interpretations of human experience is history calculated and recorded. This indicates that historical events are not subject to change, but people’s perceptions of these events. In the ‘Fiftieth Gate’ and ‘The Bridge on the River Kwai’, we see how history fails to capture events and experience due to lack public memory?

History can be defined as “the methodical record of public events” where memory is defined as “the faculty by which events are recalled or kept in mind”. Thus history and memory interrelate as history can be seen as the contextual justification for memory. The following texts are indicative are of this concept, The Fiftieth Gate by Mark Baker, A Painful Reminder a channel 7 documentary, 1985 and The Blonde Heroine of The Ghetto – Cesha’s story, an SBS documentary, 2001. Each of these texts explore this correspondence of history and memory using various examples and techniques and consider the interplay of post- modernity.

The Fiftieth Gate is a poignant interweaving of history and memory. The text follows protagonist, Mark Baker an historian, son of Holocaust survivors Genia and Yossl (Joe), on an historical journey through memory, to uncover the origins of his past and act as a catalyst for future generations to also connect with their history. Mark Baker’s journey through history and memory is also executed through his conventional ideas that memory is biased and less valid than history. There are numerous references to the discrepancies between the personal memories of his parents and the documented history Mark as an historian believes. In this way it is apparent that Mark is on a quest for verification, “my facts from the past are different”. This displays the flaw Mark traditionally notes in memory and his need for historical evidence.

As responders accompany Mark on his journey, they also encounter the complexity of simultaneously being a son and an historian. This attested via the following when Mark collates his parent’s memories with documented historical evidence “His was a past written on a page…mother couldn’t point to anyone”. This quote represents the way Mark requires documented evidence, history. This is because he believed his father’s memories only when had had evidence and didn’t believe his mother as she was the sole survivor in the town and could not provide documented evidence to verify her memories. As the text progresses, Mark does discover testimony of an SS soldier that justified her account, “found something at last… it’s really true”. Through this quote, responders perceive the significance of history and memory. Responders also decipher memory’s ability to add a third dimension of individual emotion and experience to documented history as the supportive historical evidence corresponds with individual memory and allows such emotion to be expressed as this third dimension. This quote also highlights evidence of post modernity. Mark begins to question and challenge his original ides about history, memory and their significance. He challenges the nature to believe that only history is valid as he explores personal accounts – memory, into the discourse of history.

Baker utilises various literary techniques that emulsify the underlying ideas present in the text. Mark adapts a non – linear chronology using time techniques to create fragmentation, he includes flashbacks of memory, to replicate the nature of memory and it’s incoherent fragments. This is evident when Genia flashes back in Gate VIII to her remembrance of the church “ I use to play there on the hills with a sleigh”
The text is structured in fifty gates. Each gate represents a new door, which when opened grows closer and closer to unlocking the past using a combination of history and memory. This is notable in Gate X that blends Genia’s recollection of a man who sold land to her father with a historical artifact about the ‘Krochmal fields’ in Botszowce. This quote represents the interweaving of history and memory and represents the progression of the journey within the text. It also interplays post modernity as it challenges traditional perceptions of history, through it’s correspondence with memory.

Baker also expresses the effect of memory on everyday life using irony. This is decipherable in the following, “what would you remember before you were eight? I wish I could forget what I remember”. Responders may note that Genia’s wish to forget about this memory explains this recollection still affects her presently. It also is ironic given the value of memory on the journey within this text and her willingness to forget the memories that are her past. As a result of such traumatic memories, it is also evident that the memories are tainted by her willingness to forget. Negative aspects of memories are what is remembered and emulsified, and positive aspects are possibly lost.

Baker also implements Jewish idiom. He uses Yidish, a mix between Hebrew and German, “Judenrat” (the Jewish town) and the Jewish accent “fecks fecks” (facts) to institute Jewish culture and express the value of historical context.

The text A Painful Reminder a channel 7 documentary, 2001 tells of the making of Sidney Bernstein's film (script by Alfred Hitchcock) Forty years ago British forces entered the Belsen concentration camp. Sidney Bernstein, was working in the Psychological Warfare Division and decided that what had been found must be exposed in such a way that no denial of the atrocities could ever take place. For various reasons of policy the film was never screened until 1985. The film includes interviews with the people involved and with survivors of the camps and explores the value of historical documentation in collaboration with these eyewitness accounts, i.e. personal memory.

This documentary utilises a variety of techniques to portray messages in regards to the journey within this text. As the film journeys through the Belsen concentration camp in 1945 a panning shot establishes the barren landscape and a pile up of deceased people. This camera angle sets the scene and allows responders to empathise and synthesise the experience at the concentration camp.

The text also uses descriptive and emotive language. This is evident when Sidney Bernstein describes life at Belsen concentration camp “dead bodies were everywhere, people died of disease and starvation and had to live among the dead bodies” “the SS soldiers were arrogant and saw nothing wrong with what they did” This description and expression of emotion assists in creating the third dimension of memory, the emotion and personal experience. As it is also an eyewitness account it again assists in making the history personal as responders identify the horrible events with real victims and their own memories.

The text also interweaves historical facts with personal experiences. This is evident in the following when responders are informed that in 1941 five secret extermination camps were set up. These types of facts are also corresponded with personal recollections, “they insulted you, there was no food or not enough there was no relieving yourself, you became an animal” This quote establishes the importance of history and memory subsequent to each other and again, explores post modernity through the challenging of traditional perceptions of history as being more reliable than memory and explores the idea that memory is alternate to history.

The text The Blonde Heroine of The Ghetto – Cesha’s story was an SBS documentary in 2001. The documentary undertakes a journey of discovery through the past using a combination of history and memory. The documentary opens with footage of a polish survivor, Max Mannheimer, awaiting Cesha Glazer a fellow Holocaust survivor who immigrated to Australia. Cesha, a Polish - Jew, because she was blonde survived the Warsaw Ghetto. Cesha’s family was not so lucky and with this Cesha decided to help other Jewish people.

This documentary follows Cesha and Max as they walk through Warsaw and reminisce about the horrific events that took place. They journey through their pasts to create the third dimension of memory, emotion and personal experience. The text also interrelates history and memory through the inclusion of interviews with both Cesha and Max, which take place in front of a movie screen, which is a running loop of black and white footage of life in Warsaw before and after the NAZI occupation.

Various camera angles are utilised. There are close up shots of facial expressions and also one of Isi Majercik comforting Cesha with her hand on her shoulder, which again create the third dimension of emotion and personal experience. It also makes the experience a personal one in the eyes of the responder as they are faced with real emotion and presented with the psychological ramifications of such events and expresses the close bond they share through their history. There is also a long- shot used as the text progresses. The long -shot features Cesha walking down the beach. This is a symbol. A symbol of Cesha’s cathartic approach to the memory and cleansing.

Literary techniques are also used. Symbolism is used. Max is a symbol for Cesha. Max represents the past and acts as a catalyst for memory. Their interviews are also a catalyst for memory, as they speak they remember and as they remember they speak. Film footage is again used to reinforce the memories of the survivors and emphasise the importance of memory while indicating the significant relationship between history and memory.

At the conclusion of the film, responders realise that through this trip to Poland and eventually Belgium, she has ‘walked’ metaphorically and literally through her past She was able to share her memories, as similar to The fiftieth Gate so that her voice is not alone. Rhetorical questions are posed at the conclusion in regards to German youth, “Do their children know what happened?” These questions are posed to provoke the mind of the responder and to allow them to realise the aftermath of such events. By using this question, the responder starts to think about how such events affected the lives of survivors and the lives of the many generations that proceed. It also asks responders to think about what they have remembered and if others have learned from it.

Thus it is evident that “It always begins in blackness until the first light illuminates a hidden fragment of memory”. It is the interrelationship of both history and memory that allows us to gain an empathetic understanding of an event. This concept is attested by the following texts, The Fiftieth Gate by Mark Baker, A Painful Reminder a channel 7 documentary, 1985 and The Blonde Heroine of The Ghetto – Cesha’s story, an SBS documentary, 2001. This concept is manifested through the integration of history and memory within the texts. This is also orchestrated through the use of various examples, techniques and interplay of post- modernity.

Sample 4

Historical reference, archival documentation and verification only goes part of the way in determining “truth”. With detailed reference to your prescribed text and two related texts challenge or support this premise.

“It always begins in blackness until the first light illuminates a hidden fragment of memory”. It is the interplay of both history and memory that allows us to gain empathetic understanding of the truth. Traditionally historical reference, archival documentation and verification have been regarded as a factual account of the happenings of the past. This Manichean outlook has been challenged by postmodern ideologies that claim history, because it is a representation, is in fact a misrepresentation. This has resulted in memory being explored as an alternative and complimentary discourse to history. Memory is a composition of personal perspective which can be deemed subjective yet challenges histories officiality and rationalism. Mark Baker’s non-fiction text “A Journey Through Memory- The Fiftieth Gate”, lyrical piece “Mothers, Daughters, Wives” by Judy Small and a commemorative Anzac Day interview on ABC “Enough Rope with Andrew Denton” all explore how both history and memory are crucial in determining “truth”.

“The Fiftieth Gate” illustrates how memory is ubiquitous, living within history and binding interpretation. As a member of the second generation of Holocaust survivors, Mark Baker attempts to make sense of the Holocaust legacy an, “event not personally experienced” (Berger) Bakers original intention was to combine historical research with his parents testimonial memories “I would give them my knowledge of history; they would give me their memory.” However the unconventional non-fiction text includes the narration of his own personal journey of self- validation. Baker adopts this bricolage of styles, including statistics, historical statements and personal memories. These varied devices are derived from both the discourse of history and memory, in order to allow the audience to view the Holocaust experience from a variety of ways.

Archival documents have a reality and objectivity of their own; throughout “The Fiftieth Gate” Baker utilizes historical details such as statistics, dates, interviews and archives to validate his parent’s memories and offer a sense of unambiguous truth to history “18th December 1923 at 2pm”. However often this historical documentation is regarded a “Details, details. Fecks, fecks” by Baker’s parents, with his mother Genia placing greater emphasis on personal experience and memory. Baker questions this idea throughout his text “Does history remember more than memory? Do… I only recognise suffering in numbers and lists and not in the laments and pleas of a human being…” The reader is positioned to appreciate the benefits of exploring the respective discourse. They are invited to reflect, ponder and evaluate, thus increasing audience engagement.

Memory gives history a personal perspective that is necessary in understanding the historical value and meaning of both the past and present. The gates are used as a symbolic device to represent the hidden memories of his parents which need to be accessed in order to find his own personal identity. It is the personal perspective of history in “The Fiftieth Gate” that enables Mark Baker’s discovery of self awareness and appreciation of his past and present to occur. The colour imagery of darkness additionally communicates how negative memories can be repressed “I wish I could forget what I remember”; whilst light colour imagery represents what Baker will achieve when he discovers who he is, emerging into a “stream of light”. Baker shows that although memory is fragile, characterized by lapses and often clouded by trauma and emotion, archival evidence is inadequate without it. Using his proficiency and experience as an historian, the son and the interrogator is able to embrace the memory of his parents in his researched exploration of the past.

The lyrical piece “Mothers, Daughters, Wives” by Judy Small similarly shows how memory and history are both necessary to truthfully document the past. The lyrics recount the common story of women in the era of the Vietnam War whose husbands, fathers and sons were sent to war and the outcomes of this faced by women at the home front. The historical documentation in the folk song is complemented by the personal narrative and memories of Judy Small as one of these women, similar to Mark Bakers role in “The Fiftieth Gate”. Adversity felt by women at the time such as sleepless nights and anxiety surrounding the safety of their loved ones is communicated as well as changes in society’s attitude toward women at the time. Small’s memory is evident by the use of the personal pronoun “I” and emotive terms such as “proudly” reflect her patriotic status. History is used to complement and verify her memories; with the chronological structure emphasising the longevity of war and presents a narrative to the audience similar to “The Fiftieth Gate”. Recurring visual imagery highlights the horrors of war and evokes an emotional response from the audience.

“Enough Rope with Andrew Denton an Anzac Day Special” screened on the ABC on the 26th April 2004, provides insight and personal perspective into the lives and experiences of war widows, veterans and military personnel. The interview illustrates the importance of personal perspective in history and emphasizes the importance of people’s memories and emotional experiences. Contemporaneous text utilizes a commemorative tone with interviewees linking their experiences to other texts “… I was only 19 as the song goes” to heighten audiences emotional response. Denton’s dialogue is presented in past tense with words such as “those years” and “back then” creating the time frame and emaphasising memories importance. As Baker does in “The Fiftieth Gate” Denton uses probing questions to gain a direct, private recount of legitimate events; this satisfies the audience’s curiosity and provides a sense of credence.

Both memory and history are vital in providing a credible recount of the past. They are symbiotic elements in solving the mystery of what happened and how it has impacted on those who have experienced it. The resultant ‘truth’ is verified by both facts and remembered images. Mark Baker’s “The Fiftieth Gate”, “Mothers, Daughters, Wives” by Judy Small and a commemorative Anzac Day interview on ABC “Enough Rope with Andrew Denton” all explore the importance of personal perspective in determining the truth. Through their exploration via the discourse of history and the discourse of memory they gain and provoke understanding for themselves and their audience into the past. In embracing both these elements each respective text gains enriched insight and appreciation of the narrative of history. Baker’s major achievement is to make the Holocaust come alive through the medium of non-fiction which with its fusion of historical fact and personal memory speaks to his audiences in unprecedented ways.

Sample 5

History and memory are methods of exploring the past and uncovering truths about historical events. History is a factual interpretation which often appears objective, but is subject to bias and control. It can only partially reveal the reality of human experience because of the flaws inherent within it. By contrast, memory offers an emotional response to the past, although it can be distorted and manipulated. Baker’s The Fiftieth Gate, Stephen Esrati’s feature article ‘Mala’s Last Words’ and Alexander Kimel’s poem ‘I Cannot Forget’ portray the past with an amalgam of historical and personal accounts, and employ an array of methods and techniques to influence the response of the audience. Although they differ in style and structure, they all concur that history alone is a flawed tool for examining the Holocaust, and only by combining it with memory can an accurate reconstruction be made.

The form of each text is crucial to its exploration of the past. The Fiftieth Gate is a non-fiction text, a mode that is typically factual and authoritative. However, Baker subverts the medium by providing an intimate and emotional portrait of his parents’ experiences, and thus creates an emotional response within the audience. In particular, he explores his mother’s “darkest nights”, and the impact of her memory in the present. By contrast, ‘Mala’s Last Words’ is a more universal examination of the Holocaust, although it utilizes the “Jewish heroine” of Mala to represent common misconceptions of the concentration camps. As a feature article, it is generally informative, although it concedes that even in history “even the most basic facts cannot be ascertained”. The poem ‘I Cannot Forget’ is highly emotional and personal, with phrases such as “Shadows, on swollen legs, moving with fear” employed to highlight the vivid nature of memory.

The structure of The Fiftieth Gate is integral in revealing the interrelated nature of history and memory. The cyclic chronology allows for the audience to reflect on the consequences of the “exchange of pasts”, as well as demonstrating the lasting impact of memory in the present, especially regarding Yossl. As “yesterday’s tattooed prisoner” he is both liberated from the horrors of the Holocaust and enslaved by “memory’s black hole”. This allows for Baker to highlight that while history may be based on factual evidence, it does little to explain the impact of the past on the present. The division of the book into fifty chapters demonstrates the journey of both Baker and the audience through history and memory and the levels of understanding they gain as a result.

The gate is an important symbol within Baker’s account. It represents the wisdom brought from the discovery of the past through history and memory. Like the exploration of the Holocaust, the gate “opens the blessing or the curse”, and can symbolically be opened by the “broken heart” of memory or the “forgotten heart” of history. Similarly, the razor is an important motif within ‘Mala’s Last Words’, representing the ultimate “freedom of death” in Mala’s own hands rather than “the hands of the Germans”. Mala herself serves as a symbolic representation of the “distortion of the history of Jewish resistance” through different interpretations of her actions. Mala’s death demonstrates how the flaws of memory are transferred to history, as it was the eyewitness accounts of her execution which were formalised in print decades after the event.

The language used within ‘Mala’s Last Words’ is authoritative and objective. This allows for a factual representation of the flaws of history and its ability to “perpetuate the myth of Jewish passivity”. However, direct speech is also employed, with phrases such as “I will fall a heroine and you will die as a dog” expressing the emotional intensity of memory. Similarly, The Fiftieth Gateuses direct speech from Genia and Yossl to allow for an examination of the conflicts between historical veracity and personal accounts. Jewish idioms such as “fecks, fecks” authenticate the characters and identify their cultural background as a means of gaining the audience’s empathy.

The relationship between the author and the audience is an integral component in examining the reliability of memory. Where ‘Mala’s Last Words’ is primarily a didactic text which aims to inform the reader, The Fiftieth Gate is largely dialectic. It offers different perspectives such as Herman Muller’s confessions as a means of allowing the audience to decide for themselves the truth about the Holocaust. The audience is provoked by the use of second person in phrases such as “You will never understand”, challenging the reader to forge a deeper comprehension of the emotional trauma suffered as a result of memory. ‘I Cannot Forget’ evokes a similar response, with Kimel expressing his aim to “Never Let You Forget”. However, it remains largely personal, allowing the reader to gain insight into Mil’s trauma as a result of the Rohatyn Aktion.

A synthesis of different sources is employed within The Fiftieth Gate to contrast the different views towards the Holocaust. Historical excerpts are utilized to authenticate and validate Baker’s parents’ memories. However, they also expose flaws and gaps within the personal accounts, and thus question the veracity of Genia and Yossl’s memories. Songs such as “Mein Shtetl Belzec” provide a thoroughly positive view of the memories of childhood before the Holocaust, and serve as a counterpoint to the bleak despair of their later experiences. However, Baker also admits that “The last moments can never be retrieved by history. Nor by memories”, and therefore he uses fictionalised recreations of events such as Hinda’s death as a method of demonstrating the horrors of the past that cannot be conveyed to the audience through other means.

Rhetorical questions such as “Where have the millions of Jews gone?” are used in The Fiftieth Gate to provoke the audience into questioning the presupposed ‘truth’ of history. Although historical sources are often presented as objective through statements such as “This occurred on the 18 December 1923 at 2 p.m”, ultimately they are subject to as much manipulation and subjectivity as any other route of inquiry. However, in ‘I Cannot Forget’, the rhetorical question “how can I forget?” is repeated to reveal to the audience the haunting nature of memory and its lingering impact decades on. Kimel’s experiences are represented not only as part of a distant past, but also as events ubiquitous in the present. Imagery is utilized in describing the aktion, with phrases such as “Hiding Children, dripping with fear” to allow an accumulation of detail within the reader in order to evoke understanding.

Blood is a recurring motif within the poem, used to highlight the human sacrifice of the action. The contrast between the “peaceful ghetto” before the massacre with the “mass grave” afterwards highlights the devastating impact of the event, and therefore justifies the response of the author. Light and dark are common motifs in The Fiftieth Gate which symbolise Baker’s inner conflict in ‘thieving’ the memories of his parents. Yossl’s trauma is demonstrated visually as a “torrent whose flow runs backward into his darkest nights”, which reveals the comparative impotence of history against the charged emotions of memory. Rocks also serve as a symbol relating to the experiences of Baker’s parents and their cultural heritage, as “Jews [who] remember with stones”. They also serve to represent the ‘mysterious’ nature of the past, and contrast its ambivalence to the solid nature of “Rock’s petrified memory”.

While alone, history cannot fully explain the past, combined with memory it offers both a factual and emotional reconstruction. Through different methods and forms, Baker’s book, Esrati’s article and Kimel’s poem examine the worth of a combined approach to exploring the past, as well as the impact of history and memory on the survivors. They all demonstrate that greater truth can be gained by considering memory in the exploration of the past as a means of allowing the audience to understand and empathise with the victims. Therefore history and memory can together unlock the past and demonstrate its importance in the present and into the future.

Differing and personal opinions, reflections and experiences of events can provoke great debate in the way in which history is recorded and interpreted. History, which can be viewed as a chronological series of indisputable events can often conflict with the memories that creates, validates, illuminates and humanises it. Both history and memory can be unreliable, as memories are highly subjective and vary due to perspective, and in being intertwined effect the way which these events are recorded. History is a product of an historian's personal representations of a selection of memories, not an absolute truth.

Memory gives history a personal perspective that is necessary in understanding the historical value and meaning of both the past and the present. It is through a personal perspective of history that enables discovery and journeys to occur of self awareness and appreciation not only of the past but also how it has effected and created the present.
This is clearly illustrated in Mark Baker’s ‘The Fiftieth Gate’, which tells of a journey of self-discovery and awareness in the search for the understanding of the past. Travelling to his parent’s homeland of Poland, Baker is taken through a journey of historical events through his parent’s own personal memories of the holocaust. We see through Baker’s visit to Treblinka and the video recordings of his parent’s memories of the holocaust, that these memories and experiences of his parents, gives him a personal perspective and understanding of historical locations and the holocaust.

On his visit to Treblinka, Baker comes to a more personal understanding of the effect that this has had on his parents.. Baker visits the infamous concentration camp and listens to the recital of a Hebrew verse “here in this carload I am eve with abel my son. If you see my other son cain son of man tell him that I”. Baker is able to understand this verse and find value in its meaning through his father, Yossl’s memories. Yossl’s own mother and sisters were taken away by train, and it is through Bakers personal connection, he is able to find value and understanding of this.

Bakers video recordings of his parent’s memories, show the highly personal aspect of historical events and show their own personal emotions in the facts of the holocaust, such as revenge, pain, grief. ”I didn’t know where I was. The Germans threw bread into our wagons and people jumped on it like hungry animals, one on top of the other. People killed each other for a bit of food”. These memories give Baker a deep and personal understanding of the holocaust, and in visiting historical locations allows him to come to a better understanding of his parent’s ordeals. We see through the text that Baker’s understanding of his parent’s past allows him to not only understand their present attitudes and values but also his own past and present feelings and values of his parents history. “ I realise how deeply buried is his pain. I have always pitied myself for the grandparents I do not have, rarely considering my father’s own orphaned state”.

Sample 7

Historical reference, archival documentation and verification only goes part of the way in determining ‘truth’. With detailed reference to your prescribed text and TWO related texts, challenge or support this statement.

History is a product of an historian's personal representations of a selection of memories not an entirety. The link between history and memory is the way in which human experiences are perceived. Not all representations of the past can be recorded and it is through the historian's perceptions and personal interpretations of human experience is history calculated and recorded. This indicates that historical events are not subject to change, but people’s perceptions of these events. In the ‘Fiftieth Gate’ we see how history fails to capture events and experience due to lack public memory?
Truth and veracity cannot be established through historical facts alone. Archival, dictation, statistics and artefacts only supply a cold, hard, one-sided view to the occurrences of the past that lacks verification and stability. All the data in the world is nothing without personal experience and individual recount to give the clarity it required to come anywhere near being truth. However, as seen in Mark Bakers’ book The Fiftieth Gate, the history and memory of an event rarely collaborate one another and sometimes even refute each other leaving the viewers opinion of what truth is blurred and fragmented. No one can every obtain the whole truth of an experience, so does it really matter in the end? As seen in The last Days by Steven Spielberg and Colours of War by William Black, the truth does not ease the pain the memory inflicts upon them on a daily basis. Memory and history are puzzle pieces which help us to see the bigger picture of truth in its entirety.

“History never looks like history when you are living through it.”; a quote by J.W. Gardner that seems to sum up Mark Bakers’ non-fiction publication The fiftieth Gate, as Baker’s parents Yossl and Genia do not acknowledge the facts brought to them by their son. As Baker raids his parents minds for their memories, his historical outlook is challenged by their experiences and the damage he causes by dragging it up seems pointless as their testimonies do not match up with what he has located from his studies. The ‘fecks’ clash with experience on a hidden dimension, and as Baker comes to realise that history is not a whole picture of what has transpired, he bears witness to what history has done to his parents, his mothers’ fear of darkness and enclosed spaces, her obsession over how she looks, her continuous morning over her lost mother and childhood and how she could have been anything, his fathers’ loss of identity, family and faith in religion and his fathers’ mastery of trivia but failing memory.

Bakers’ failure to see the true value of his parents’ memory at first leaves the truth he longs for inaccurate. He is taunted by his parents’ episodes, you don’t understand, you weren’t there”, showing how Memory knows more than his research has indicated. Throughout the book both memory and history interact to form a more complete view of the Holocaust, , however it is also evident that both history and memory, whilst being accurate, are subject to edit through the perception of those who generated it. Genias’ home town of Bolszowce for example was almost never mentioned in any of the research Baker had undertaken, forcing him to rely on the personal experience rather than his facts. It is at the end of the publication that the lines between history and memory are blurred and Baker sees that the truth is only ascertained through the compromise of facts and the mind.

This morphing of history and memory is also evident in William Black’s online poem Colour of War where it is personal history and the soldiers’ memory that interact with one another. In this poem, history and memory are generated through a 3-dimensional world of personal experience by the poet, using colours as a trigger for the memories, like totems of terror on a barren landscape .As photographs activate the memories of Genia, so too do the colours activate the memories of the soldiers, “What are the colours of war/That haunt soldiers’ memories? /What shades and hues evoke responses/In the nightmares of their history?. These lines, whilst being rhetorical, suggest that the atrocities of war are highly detrimental on the human psyche, as even basic elements such as colour bring back the horror of theses experiences to the soldiers: There is no truth to be gained, but the poem demonstrates how history and memory can paint an elaborate and detailed Picture when combined and how history can be made tangible thought vivid memories that make sense of the chaos.

The Steven Spielberg documentary The Last Days also displays the dovetailed effect present in the The Fiftieth Gate where a greater truth is gained through the interplay of mind and matter and their integration of information. The accounts given by the five witnesses blend into a singular story driven and backed by each others experiences. Spielberg laced his common account with historian testimony and archival footage to verify, support and clarify the points raised by the speakers demonstrating how history and memory use one another to produce ‘truth’ or something close to it. Visual stimulus gives the narratives a physical image, pushing the atrocities of the situation and what these people have witnessed. Mental and physical elements are partnered together to obtain a view of what really happened during the Holocaust.

Truth is an abstract concept that is entirely centred on the perspective of the composer. Whilst Baker gets what he considers to be the truth of his parent’s personal experiences, this is only a minor fraction of the truth behind the whole situation. It is evident that the truth requires elements of both history and memory to give a greater image like that of the nightmarish battle zone in Black’s poem The Last Days combination of visual history and oral memory display the veracity gained by the fusing of the two ideals. Whatever the circumstances, truth cannot be obtained with one data type alone.

Sample 8

Traditionally historical reference, archival documentation and verification have been regarded as a factual account of the happenings of the past. This Manichean outlook has been challenged by postmodern ideologies that claim history is in fact a misrepresentation. For, since history itself is subjective when retold from one’s memory, memory itself can be viewed as an alternative and complimentary discourse to history. Thus, “History brings with it memories,” (Baker), and by erasing a fragment of our history, we lose the important memories and truths that have ultimately helped shape us today. As a result, our lives incomplete and unfulfilled. This concept is evident in Mark Raphael Baker’s text A Journey Through Memory, The Fiftieth Gate, William Black’s poem The Colors of War, and Michel Gondry’s film Eternal Sunshine of the Spotless Mind, as their use of often non-orthodox conventions of their genres, such as style of narrative and language syntax, continuously merge the past and present together.

In The Fiftieth Gate, Baker’s intertwining of his parent’s subjective reflections with his historical recounts of the Holocaust helps readers to understand the importance in reliving such horrific memories for, in doing so, we ultimately grow stronger from such an experience. In particular, Baker highlights such a concept by closely depicting the transformation of his mother after she ‘journeys back into (her) life’. Genia’s description of her memories of the Holocaust as a ‘black hole’ symbolically represents her present state- unable to relive the events as the pain is ‘endless’, but unable to forget as it “plagues” her in the form of “sickness and nightmares”. By interrogating her about the events, Baker ultimately ‘unmasks… the darkness’ by “opening the gates” to her past, and in the process, he lessens her pain. The image of Genia ‘(rising) from the blackness… dancing in remembrance’ is symbolic of her finally embracing her life as a ‘blessing’ rather than a ‘curse’. Thus, by learning to overcome her traumatic experience of the Holocaust, Genia has, once again, ‘survived’. In addition, Baker’s representation of historical events through the subjective perspective of one’s memory illustrates how hidden truths about society can be revealed. The tangible recount regarding the execution of the Jewish community in Wierzbnik demonstrates man’s propensity for bestial inhumanity seen in the brutality of German SS soldiers. Graphical imagery of a young child having her “head smashed against the gate,” a young man pleading “if there is a God above,” only to be “answered by a man in uniform who fires at him” and an old man “struggling through an alley,” only to be “shot in head” is used extensively by Baker to shock his audience. By including such documentation in his non-fictional text, Baker aims to revive the history that had been hidden for decades, and present it to society as a lesson: ‘it always begins in blackness, until the first light illuminates a hidden fragment of memory…’ Though the Holocaust is an event ‘not personally experienced’ by us we, like Baker, can learn from such an ‘exchange of pasts’, thus hopefully preventing a repeat of such history.

Colors of War’ is a highly emotive and graphic poem that indicates how the impact of a significant historical event on individuals can shape understanding and, through memory, can alter one’s perceptions. William Black Jr. utilises colour and sensory imagery to re-create an alien landscape that “triggers memories” that are nightmarish in quality. He explores a rich variety of hues and shades that link colour with tangible events such as “drenching rain” or “blood drained bodies,” which coincides with the controversial, colloquial tone of the poem, inviting readers to share such experiences. Terms such as “haunt,” “nightmares” and “dreaded” denote how memories cannot be softened by nostalgia or forgetfulness. The worst of the horror he has known has not been blanketed by numbing forgetfulness. This is one of the coping techniques used by the characters in The Fiftieth Gate. Some victims desperately try to forget and distance themselves from what has caused them pain but this is not always successful as this poem testifies. Genia and Yossl are likewise connected to their nightmarish war experiences, but The Fiftieth Gate ends on a more positive tone of emotional release, as a result of them unmasking their agonising past. They have been able to move on with their lives rather than remaining inmates of the past.

By erasing a part of our memories, we lose both the histories and experiences that have helped to make our lives complete. This is explored in Michel Gondry’s film Eternal Sunshine of the Spotless Mind, as protagonist Joel Barish seeks to erase the memories of his past lover, Clementine, after their relationship fails. During the ‘memory erasing’ transaction, Joel’s world literally begins to disintegrate, effectively depicted via a distorted camera, where images associated with Clementine are obliviated.. However, as Joel encounters a memory of himself embracing Clementine, he comes to the realisation that erasing his history of her is foolish. His desire to “keep this memory…just this one” is reinforced by the heavy shades of chiaro scuro lighting as a single beam of light is focused upon Joel and the surrounding environment dissolves into the shadows. Ironically, the bright light illuminates a sense of despair settling upon Joel.

As a result of his transformation, Joel is unaware of Clementine’s existence, and coincidentally, they meet each other and fall back in love. Experience, history, memory and truth are cinematically fused. Like Baker, Gondry demonstrates this continuous cycle of love and hate via a non-chronological narrative structure, as both Joel and Clementine’s second meeting is displayed at the beginning of the film. Gondry effectively uses this technique to demonstrate the consequences of erasing our past, and in so doing, emphasizes the value of remembering what has helped shape our lives. History could be repeated without the tempering influence of memory.

Memories help forge our identity and when linked to the historical veracity of factual statistics, data and documents can provide a reliable version of the truth. Such are the conclusion reached by Baker, William Black Jr and Gondry as they explore through different mediums, this interplay of history and memory in ways that challenge their respective audiences. By masking or dismissing such memories, the truths about the past, as painful as they might be, can be irretrievably lost. Baker graphically depicts this didactic lesson by using non-fiction as a narrative vehicle for insight and understanding. As a result, Baker, Gondry and William Black Jr. through the effective use of representative techniques of their varied mediums, reveal how history, in combination with memory, can lead one to gain ultimate knowledge and understanding of life, ‘the darkness or the light’.

Sample 9

The Fiftieth Gate is a book concerning memories, lovingly written by Mark Raphael Baker as a historian and also as a son. In order to vindicate their stories, perhaps from both personal and professional interests, the author revisits the past of his parents who both survived the Holocaust. "It always begins in blackness, until the first light illuminates a hidden fragment of memory...."The story was intended to "unveil" the mystery of the parents' survival" and to explore forgotten realms in order to unlock their personal memories.
The Fiftieth Gate is written in an abstract manner including poems, lyrics, official documents, and old tales with a general narrative, tying it all together. The author uses interesting techniques to narrate the story of his parents' survival. He uses italicized writing to relay points his parents have told him of in the past and non-italicized writing to relay what his parent are telling him at the moment of his narrative. However, the story does not read as if penned from a meticulous and calculating historic hand. Instead, the book is touched with descriptions of such elegance that the language could almost be taken from a fictitious piece.
It is obvious, from the type of history that this book endeavors to cover, that most topics and memories discussed will be dark of nature. The Holocaust itself was a bleak and savage event, and Mark Baker tries to convey how this occurrence has affected his parents in their memories and thoughts. Their memories are hidden and mainly confused. Perhaps the inability to remember is due to the large lapse of time between the "now" and the "then." Perhaps these inaccuracies are due to burdened minds trying to live again, away from the blackness of their early life. Whatever the reason may be, these lapses in memory posed a problem for Mark Baker. He could not simply accept the "facts" his parents gave him, but instead needed to investigate the lives of which they claimed. This was the biggest problem of history the author faced while writing this book; the accuracy of memories gathered.
Mark Baker provides two examples in the book where the "sages" have taught something, yet his parents teach something else. The outcome of both examples taught by the rabbi are hopeful, full of peace and love. The outcomes of both examples taught by the Bekiermaszyn's reflect death and despair. The first example illustrates that of the "Garden, whose fruits reveal the secrets of the world." The sages teach; four rabbis enter and are struck down at various points in the garden, and only the fourth, wise rabbi escapes harm and exits. The author's parents teach that the fourth rabbi passes all points of danger in the garden, but he does not exit. This ending can be seen to reflect the destruction of the Holocaust, the despair and the belief held by these two survivors that the world is not a hopeful place where a happy ending always prevails. They have seen so much death and suffering, perhaps this is the only belief they can hold.
The second example portrays a rabbi being seized by his enemies, wrapped in a scroll of the Torah and set alight. Both sages and Mark Baker's parents teach that he was set alight and cried out he could see the parchment burning but the words were soaring high. Here, the Bekiermaszyn's taught that the rabbi turned to ashen dust, exactly like those Jews killed and burned during the Holocaust.
These two examples illustrate how history can change the perceptions of individuals in both conscious and unconscious ways. Mark Baker had to deal with this problem when writing The Fiftieth Gate, investigating and verifying everything he heard and a lot of what he had been taught. Another problem of history the author doubtlessly encountered were the emotions still existent concerning the Holocaust. When raw emotions still remain from a traumatic historical event, recollections and the retelling of events will most likely be clouded with opinions.
The author's parents were born before the war in small towns where the majority of the population was Jewish. Yossl Baker (previously Bekiermaszyn) lived in Wierzbnik with his family, and Genia Baker (previously Bekiermaszyn) lived in Bursztyn with her own family. During the year of 1942, both towns were occupied by German forces and both Yossl and his future wife Genia were forced to move; Yossl to various labor and death camps, Genia into hiding.
It is this time period, during which his father was incarcerated and his mother was on the run, that Mark Baker was most interested in. His father was captured and first taken to Auschwitz then Buchenwald before his liberation in 1945. His mother hid with her parents in forests and in small towns wherever possible. Their stories are different in terms of the horror they both had to endure, yet there is no mistaking that both were left with powerful memories which the author began to unlock when he journeyed into their pasts.
History can be viewed as a sequential series of indisputable events, whereas memory is of such events that are highly subjective, and affect the way in which they are perceived. The link between history and memory, and the way the human experiences it, is a component of past and present. We are shown this throughout the prescribed text "The Fiftieth Gate", where, through Baker's quest, we see the past continually impacting on the present, as the memories of the past affect those who have endured it. The other related material studied also shows examples of this complex relationship surrounding history and memory.

Within the prescribed text, the composer, Mark Baker, combines different types of text in one volume. This is a technique designed to reveal aspects of an event from various points of view.
The title, The Fiftieth Gate, refers to the highest knowledge of God, which is either total darkness or total enlightenment. The book confers to this theory in that it is structured using fifty gates, with each chapter adding to the knowledge.
An important feature that is learnt from the text is the inability to find out or determine everything. We cannot know all of history; the experience is limited and personal. Another major idea within the text is the conclusion Baker comes to that "we are the sum of our experiences", as this is represented throughout.

For Baker the text is a discovery of the history of his family. He wants to be able to define what happened to them, yet while he acts as an archaeologist, uncovering the details of his parents' lives, he is also inevitably linked by birth and this blend of objectivity and subjectivity makes the text more realistic. Baker, as an historian, uses society's tools to explore his parent's past, however it is only when he includes and values their memories that he comes close to truth.
One of the truths Baker learns by the end of his quest is that the story of his parents is valid and has meaning whether it is documented or not, as the emotions and humanity come from their heart and make it just as valid as the archives recorded. The key is not in the detail of their lives recorded on paper, but in the lives his parents have lived in spite of what was done to them. The reader must see Baker as both a chronicler and participant as he weaves fact and fictionalised fact together to create their lives and his own from stories, memories, truth and research. He achieves understanding only when he trusts his parent's memories and lets go of the historian's attitude to the 'truth'.
There is a sense of realisation or discovery for Baker as the text progresses. It is realised that history is indisputable, and its events cannot be changed, only one's perception of them. Baker concludes that history and memory provide the key to self-knowledge.
Through Baker's journey of discovery, he is able to surpass the barriers of time through the power of knowledge and memory and it is discovered that to learn about the past is to understand the present, and it is in this way that history can be viewed as empowering.

It is as a result of Baker's father, Yossl, that we learn the way in which memory can be unreliable. This is proven when Yossl's memory of his hometown, Wierzbnik, is inaccurate and appears differently to how he remembers it to be. He becomes flustered with his memory for failing him in this way.

As with her husband, Genia is a unique individual but the discovery of her memory and past is different from Yossl's. She is made 'real' when she worries about her legs when Baker is filming parts of the interviews, "You can't see my legs can you?"
One key to Genia's life is that there are fewer records Baker can locate, as her village was destroyed by the Nazi's. Although she has told her son that hers was the only family to survive, he deep down does not accept this as fact in the same way he does his father's story. Only when he finds the Soviet record, naming the Krochmal family as being the only survivors, does he access his own need for physical proof. He begins to question his own motives for investing faith in documented evidence, and as he questions; "does history remember more than memory?" the reader is able to see the first point in which Baker turns from his profession.
This 'revelation' is a very human one as a thing is often accepted solely because it is in print while word-of-mouth is somehow taken as less accurate or reliable. When Baker comes to this realisation, he accepts more of who his mother is and was, which leads him to further discoveries.

A film which history and memory have a significant relevance in is "Life Is Beautiful". This is a very interesting representation by Benigni of one Jewish family's ordeal in a concentration camp, and offers a stark contrast to that of Mark Baker's in The Fiftieth Gate. It is a memory of the young son of the Jewish couple, who was in a concentration camp with his father. As the young boy, he does not realise what is going on around him, and thinks it is a game like his father tells him, but by what is visualised around him, we are able to see the truth in what is happening. While he now knows where he was, and the danger he and his parents were in at the time, Joshua can only remember the camp in the context of this game. He is able to understand what is true, but this memory was "(his) father's gift to (him)". While this is undeniably a false memory, it is how the event was perceived by him at the time, and therefore he cannot change what he remembers into what he is told or reads in history books.

Michael Millet's article, "Japan buries war shame in search for pride", appeared in the Sun Herald in May 2001 and outlined the debate concerning the decision to print school textbooks that present the Japanese' involvement in the war in a patriotic light, in order to raise their country's pride. This text raises the idea that the impact of the truth on the present is one of the factors that enter into the distortion of history.
The article reports the debate in an objective manner, and has references to the involvement of the various academics concerned with the issue. The majority of these academics believe that the issuing of these textbooks is essential for Japan, as "otherwise it will result in the collapse of the nation." This belief is supported by many Japanese people, despite being aware that it does not print the entire truth, and is in fact a misrepresentation of the facts.

Similar to the representation of history and memory in "Life Is Beautiful" is that within the film "Radio Flyer". Narrated by an adult from his perspective as a child, the viewer is presented with the way the main character remembers an event in his childhood, in which his younger brother died, while also seeing the truth behind the event. In this case the truth, or history differs dramatically to the memory being related. As a child, the character has perceived the event as his brother escaping from an abusive stepfather, and, although intellectually he realises that his brother is dead, he chooses to believe in his own recollection of the past, and in doing so gives his brother the life he dreamed of having. This text represents the way in which memory is a personal record of history.

These representations of the relationship between history and memory enable a clarified definition of the role of each in discovering the past. They show that, while neither method is foolproof, one cannot be looked at without the other, as a blend of subjectivity and objectivity is necessary in order to perceive the whole truth. History is imperative as societies record, and is valued as a result of its clear truth and trustworthiness. However, to the individual, a memory is priceless, and one's own memory is perhaps the only true account of the event to that person. It is clear that the past cannot be discovered without both accounts, as each interacts with the other to form the true representation of the event.

Sample 10

‘Is there such a thing as “history” which is more objective than memory?’

For many years now there has been a strong debate, as regarding wether or not there is such a thing as ‘history’ that is more objective than memory. Due to memories completely subjective nature, history although also being somewhat subjective, it is a great deal more objective than memory. To discuss such a statement first one must define the terms ‘history’, ‘objective’ and ‘memory’. The Macquarie Dictionary defines the term ‘memory’ as:“ the mental capacity or faculty of retaining and reviving impressions, or of recalling or recognising previous experiences. A mental impression retained; a recollection.” For the purpose of this essay assume history to be; the knowledge of what happened, the record or expression of what occurred.” The term “objective” refers to being free from personal feelings or prejudice, unbiased.

The idea of objectivity involves a belief in ‘the reality of the past, and [to] the truth as correspondence to that reality.’ In the light of such definitions memory is entirely subjective, with no elements of objective truth. Laurel Holliday’s book entitled Children’s Wartime Diaries illustrates how memory is composed of and subjective to ones current emotions and circumstances. Caroline Baum in her article The Children’s Ark and Mark Baker in his novel The Fiftieth Gate both use history and memory to reconstruct their parents past. Throughout their journey of discovering their parents’ history both authors discern the subjective elements of memory and discern memories subjective characteristics. Such characteristics as personal recall, bias feelings, fragmentation, gaps, forgetfulness and emotions involved with memory add to its complete subjective nature. History although being more objective than memory, also has a number of subjective characteristics.

David Irving’s web site includes a document entitled ‘Did Six Million Really Die?’ This document illustrates how histories foundation on evidence constrains it partially to subjectivity. The Sydney Jewish Museum illustrates how historians know the past to be; not the past as it was in itself but the past as it appears from its traces in the present. Despite such subjective characteristics, history is more objective than memory. The fact that a historian’s view of history can never be completely objective does not mean that descriptions of the world cannot tell anything objective about it. The Fiftieth Gate demonstrates how to some extent the nature of archive documents cause them to reasonably reliable and objective and when the past is well supported by abundant evidence it is reasonable to say that the history being presented is objective. The Sydney Jewish Museum in addition illustrates how history unlike memory has a systematic organised structure, which inevitably adds to its’ objective nature. As a result of memories complete subjectivity, history although also being somewhat subjective; it is a great deal more objective than memory. Memory unlike history is completely subjective. Memory is composed of personal feelings or prejudice and bias. Memory privileges the private and the emotional. Against histories officialism and rationalism, memory reveals the hidden pasts, the lived and the local, the ordinary and the everyday. Memory dreams in fragments and gaps. It values representation and the remember, rejecting factualism and objectivity. Diary entries are such a text type where these characteristics are considerably evident. Laurel Hollidays’ book ‘Children’s Wartime Diaries, Secret Writings from the Holocaust and WW2’ is a collection of exerts from diaries written by twenty-three young people living in Nazi occupied Europe and England. The children are aged between ten and eighteen and recount the horrid experiences they lived through during the Holocaust and WW2. It is evident throughout Hollidays’ book that memory is composed of personal feelings and bias, making it completely subjective.

It is apparent that each of the children wrote about what was important to them at the time. Adolf Hitler may have been executing thousands of Jews a block away, but Janine Phillips was more intent on writing about her sister’s movement from one concentration camp to another. It is a fact that one recalls experiences differently according to their current state of emotions and feelings. Hollidays’ book gives a number of different contradicting accounts of the Holocaust. Dirk Van der Heide, a twelve-year-old boy living in Holland recounts a German bombardment in his hometown of Rotterdam. He describes how there were four hundred Germans attacking with guns and other such weaponry. Sarah Fishkin was another child living in Rotterdam at the time of this exact bombardment. Unlike Dirk Van der Heide, she recounts the bombardment as being reasonably small and undisruptive, with only sixty Germans attacking. Such contradicting accounts of the same event show how memory is subjective, to ones current situation. Diary entries are usually written immediately after an event has occurred and such immediate response may cause an under or over exaggeration of the situation, adding to memories subjective nature. Laurel Hollidays’ book has been composed in such a way so as to resemble a diary.

The cover is a mottled blue design and the corners and the spine have been coloured red, so as to give the impression of being bound. Each of the diary entries is dated and separated by a single line, again, so as to resemble a diary. Such a layout gives the impression that they are real diary entries and personal, therefore subjective accounts of the holocaust. The variable emotions and feelings surrounding an event makes memory completely subjective.

‘The Children’s Ark’ written by Caroline Baum is an article accounting a daughters (Caroline Baum) discovery and investigation into her fathers childhood experiences during the Holocaust. Throughout this article the subjective characteristics of memory are evident. Within the text there is a strong use and interaction between both memory and history, as Baum tells of her father’s journey from Jewish oppression to freedom. Baum discovers that memory alone is insufficient as its’ characteristics lend it to subjectivity. At the times when Baums’ fathers’ memories lapsed she relied on history to tell what her father was unable to recall. Towards the end of the article Baum comments on the aging of the kinder and the results this was having on their memories; ‘…Suddenly, as the kinder grew older and more frail, their memories more unreliable, there was a realisation that if it was not told now, this story could never be told…’ As people age it is a fact that their memory deteriorates and becomes overall less reliable. Such an element of memory adds to its completely subjective nature. Due to this subjectivity, throughout the text history is often used to confirm and fill in the ambiguous memories expressed.

‘The Fiftieth Gate’ by Mark Baker, is a true story, where he uses history and memory to explore and reconstruct his parent’s experiences during the Holocaust. He discovers the subjectivity of memory and thus repeatedly recognises and speaks about the limitations and weaknesses with the use of it. When he asks his father to recall the weather conditions on the day of his liquidation, he finds that his fathers’ memories contradict the records. Bakers father recalls the time as being winter and very cold, but the records record his time of liquidation as being a warm Autumn. On the following pages Baker explores the reliability of his fathers memory, and begins to understand the flaws in memory. His fathers’ memories are just experiences without any chronological order, so it makes sense that all his memories don’t line up. The Fiftieth Gate has been structured in such a way so as to express such ideas. The content expressed throughout the book is very disconnected and there is little evidence of any chronological order. These structural elements actively develop the idea that memory is overall fragmented, with no real begging, middle or end. The issue of his fathers’ correct age is one of the many other events in the book where his fathers’ narrative has surrendered to forgetfulness and therefore subjectivity.

The modern historian Michel Foucault’s stated “…. with its moments of intensity, its lapses, its extended periods of feverish agitation, its fainting spell, memory fails to be objective…” It is at such points in The Fiftieth Gate where memory falls short, that Baker has sufficed to let the logical, more so objective option, of history, rule over his parents’ completely subjective memories. At a number of stages throughout The Fiftieth Gate, when Bakers father feels he can remember no more, Baker is forced to interact by telling his father a part of history which inturn triggers another memory. Such a responsive characteristic of memory insinuates that memory is subjective to the current situation. History is considerably more objective than memory but due to its’ basis on evidence it too contains elements of subjectivity. History is founded upon evidence and, despite preconceptions, evidence is not always objective. There is a bias in the creation of evidence and a bias in the survival of evidence. During the Nazi regime the German government had tight control over the survival of evidence that proved to their actions. Such political power meant that this century’s perspective of history has been significantly altered. G.R.Elton said; ‘that which is deliberately preserved by observers is a drop in the bucket compared with what is left behind by action and without thought of selection for preservation purposes.’ Subjective evidence means subjective history.

Historical evidence is limited as to the amount of information it can ultimately provide. Such a limitation to a degree forces history to be subjective. Historical descriptions are like the theories of physics, theoretical constructions designed to account for the available evidence. There is a limit to the amount of knowledge one can gain from evidence, as it is impossible to cover and account for everything with historical facts. There are not records detailing every moment of every day, and as history is often based upon evidence history can be little more than a theory. David Irving, in his article ‘Did Six Million Really Die?’ discusses his belief that ‘there were no gas chambers used for mass murder at Auschwitz and Other Camps.’ Irving argues that there is no objective, truthful evidence suggesting that there were gas chambers. He believes that the “gas chamber tragedy” is just an over exaggerated theory, with no factual grounding. Wether or not Irvings’ argument is correct is debatable, but what is evident through his article, is that history is not always completely objective, as it is often only a theory based upon limited evidence. The idea that historical evidence does not prove the truth of all elements of the past seems to be supported by the fact that historians are sometimes unable to agree among themselves over what happened. The restrictions involved with historical evidence inevitably mean that it is subjective, and subjective evidence means subjective history.

The subjectivity of science, consequently lends history to an element of subjectivity. Much of today’s history has been established from science. For instance many people today believe that the world was created by the “big bang”, such a historical theory has been developed from and is based around scientific concepts. Many people today believe that science is factual but this is not the case. After all, scientific theories employ scientific concepts, which have been seen to change from time to time, so they seem better described as representations of reality, of whose real nature we remain mostly ignorant, rather than a mirror of its essential nature. This subjective nature and unreliability of science, infers that history developed on science is consequently partially subjective as well.

A historian’s personal bias unavoidably influences their choice in material. In many ways a historian’s job is to fill in the gaps memory leaves, making their role an ideological and political one. This role of a historian inevitably lends history to elements of subjectivity. Historians both conform to and help erect structures by which their society functions around. Over the past century it has been seen how history has the ability to strategically ‘forget’ some aspects of the past while ‘remembering’ others. For instance, in Australia the Aboriginal identity for many years was suppressed by history. Historians and the white European society denied and concealed the facts that the Aboriginals were the original inhabitants. It was only through the objections and challenges brought about by memory; the truth of the issue was uncovered. Historians naturally prefer some interpretations of historical evidence to others for all sorts of cultural, social or personal reasons. The majority of historians use and search for evidence that will support and help them construct their account of what happened. David Irving, a British historian and author, is one of the very few who has openly denied the Holocaust. On his web site he has written a document entitled ‘Did Six Million Really Die?’ Irving discusses a number of “facts” which deny Adolf Hitlers role in the Holocaust. Whether or not his argument is correct is irrelevant, what is relevant is the fact that it is obvious that Irving has privileged some evidence over other evidence. Throughout the document Irving places much emphasis on the evidence that supports his argument, while scarcely mentioning and denying contradictory evidence. Consequently, it is evident that a historian’s personal bias inevitably affects their choice and use of evidence, therefore adding an element of subjectivity to history.

A historian’s personal bias not only shapes their choice in material but also inevitably affects their interpretation of the evidence. R.G.Collingwood put forward his view in the essay ‘The Limits Of Historical Knowledge.’- “…historical thinking means nothing else than interpreting all the available evidence with the maximum degree of critical skill. It does not mean discovering what really happened, if ‘what really happened’ is anything other than ‘what evidence indicates.’ The interpretation of evidence inevitably means the inference of personal bias and as a result subjectivity. Keith Jenkins uses the uncertainty about Hitler’s intentions after gaining power as evidence of the unreliability and subjectivity of historical evidence. The significance of the Hossbach Memorandum, in which Hitler outlined his plans to acquire extra territory for Germany, has been under considerable debate in the past few years. Some have interpreted Hitler’s plans as an honest declaration of intent; while others, notably A.J.P. Taylor, have doubted its genuineness, suggesting that it was a plan which Hitler hoped would justify increased expenditure on armaments.

Analysing documents is simply interpretation, and the process of interpretation is always subjective. History can never be completely objective due to the cultural relativism involved. History is just a representation of a historian’s way of conceptualising things that have happened. Every culture views the world differently through the lenses of its own concepts and interests, events and experiences are both seen and interpreted differently. The fact that interpretations of past events vary with cultural prejudices, personal interests, and standards of rationality, implies that nobodies’ interpretation of the past can be true or objective. An illness, which a person in one culture blames on an evil spirit, a person in another might describe in terms of a medical theory. Our perceptions of things in the world are a function of our culture, of its practices and concepts. Even within ones own culture there are differences in the way people view things. A common person may see the sun rise over the horizon, but the scientist thinks of the earth turning toward the sun instead. Everybody shapes what he or she sees according to the concepts with which they have learned to structure the world. Keith Jenkins has denied the objectivity and truth of history in his book Re-thinking History (1991). Although agreeing to the idea that historians study sources he remarks that “…the historians viewpoint and predilections still shape the choice of historical materials, and our own personal constructs determine what we make of them. The past that we ‘know’ is always contingent upon our own views, our own ‘present’….” The Sydney Jewish Museum is such a piece of historical memorabilia that has been obviously been significantly shaped by cultural relativism.

The Jewish people of today, have established such a museum to recognise the thousands of Jews who were slaughtered during the Holocaust. Their personal interests, cultural prejudices and concepts forced them to shape and mould their perspective of the past. The Sydney Jewish Museum informed that during the Holocaust a total of 5,860,000 Jewish people were slaughtered, but what the museum failed to inform was that a further 5,000,000 were also killed. This further 5,000,000 consisted of Polish Christians and Catholics, the well educated and anyone physically or mentally handicapped. The composition of the museum also played an important part in the representation of the Holocaust. The entrance and the whole of the bottom floor was made from a grey mottled marble type of material. Such a choice, in the colour and material of the floor set the solemn mood and tone that was to follow. In the front foyer there were a number of large plaques with the names on those Jews who were either killed or went missing during the Holocaust and numerous stained glass windows depicting scenes from the Holocaust, covered the walls. The solemn mood was carried through the rest of the museum by the use of specific lightening, music, colour, diagrams, choice of achieves, photos and pictures. The composition of the museum has had a major role in the representation of the Holocaust, in that it strongly emphasises the hardships and horrific events many of the Jews experienced. The ‘history’ presented through the Jewish museum, although partly true, it is formed by their present cultural feelings, prejudice, values, beliefs, interests and bias, making it to some extent subjective. There can be no objective history of ‘the past as it actually did happen’ there can only be present day historical interpretations, none of which are final.

Despite histories subjective elements, it is still a great deal more objective than memory. Unlike memory, which is fragmented, full of gaps without any chronological order, history has an organised structure. History is a record. It collects and organises such facts that are available and relevant, provides some sort of framework for them, and lays down the guidelines for their presentation. It supplies order, harmony, and direction, for what might otherwise be a chaotic assemblage of miscellaneous facts. The history presented through The Sydney Jewish Museum reflects some of these objective characteristics. The exterior of the building was a big white sandstone building with a number of steps leading up to two large glass doors. Above these doors in large black writing was the name of the museum “THE SYDNEY JEWISH MUSEUM”. Such a simple but striking exterior immediately gives the impression that the museum and the history presented through the museum, is very serious, solemn and important. The museum itself was designed in a rising spiral shape, where each layer rolled onto the next, systematically going through the Holocaust from the beginning of the Jewish existence to their liberation. Such structural orderliness gives the impression that history is a lot more objective than memory.

Archive documents have a reality and objectivity of their own. The names, numbers and expressions on the pages do not change, no matter who is looking at them. For instance, there is no disagreement among historians that the Hossbach Memorandum is a record, reasonably accurate, of a speech made by Adolf Hitler on the 5th November 1937. The language used throughout the museum in regards to the archives, diagrams, photographs and pictures on display was rather conservative, factual and informative. Such objective language used beside these artefacts emphasised the truth and objectivity of the history being expressed through them. Similarly, throughout the Fiftieth Gate, Baker places great amounts of “truth” on the archives. Numerous times throughout the book when his parents’ memories are not sufficient Baker uses archives to fill in the spaces. Mark’s parents thrive so much of the historical knowledge Mark offers because these “facts” sharpen their stories and add an element of realness and truth to their memories. At one particular point in the book Baker uses the archives to fill in his fathers prayers regarding Leib Bikiermaszyn’s details. The archives give details regarding his full name, place and date of birth and the date of his death. Such documented details offer a sense of unambiguous truth to history, as they do not allow for any interpretation, thus suggesting that certain documentations to some extent are objective.

Although much of history is partially subjective due to its basis on subjective evidence, if a historical statement is well supported by abundant evidence, and much better supported than any alternative account, then the statement can be reasonably accepted as very probably true. For instance, it is by and large undisputed that in 1933 the Nazi party took power in Germany and Adolf Hitler became the chancellor, or prime minister of Germany. Such statements as this, although to a certain extent open to elements of subjectivity, due to the abundance of well supported evidence surrounding them they are generally seen to be objective.

No description of the world can be completely independent of its’ authors point of view, however this does not mean that descriptions of the world can not tell us anything objective about it. The historian C.B. McCallagh has developed what he calls the ‘correlation theory’. The correlation theory says that, “a description of the world is true if there is something in the world that resembles one of the conventional truth conditions of the description.” For example it is true and objective to say that a river runs through Melbourne if there really is something in the world that resembles a-river-running-through-Melbourne. There are a number of problems with the correlation theory that confirm the concept that history can have elements of objectivity but is still to a certain extent subjective. First, scientists say that our perceptions are caused by things in the world that trigger our senses, which finally produce our perceptual experiences. With this concept in mind it is fair to say that our perceptions provide us with information about reality, but do not mirror it exactly. In other words, our perceptions cannot give us a complete objective view of history but can only provide us with some elements of objective truth. Although our perceptions of the past do not reflect the whole truth and consistently correspond with the world because of the subjectivity involved, they do provide some objective information about the world as they were partly caused by it.

The characteristics that make up memory all contribute to its’ complete subjective nature. It is subjective to personal prejudice, emotions and forgetfulness. History is considerably more objective than memory however it still contains elements of subjectivity. History unlike memories complete fragmentation has a systematic structure. Histories basis on archives means that to a certain extent it can be objective and if history is abundantly supported by unambiguous evidence or reflects part of the current world it is reasonable to say that history is more objective than memory. Though this is not to say that history is completely objective as it too has elements of subjectivity. History is neither scientific nor mechanical, the ideal history, completely objective and dispassionate, is an illusion; as there is bias in the choice of a subject, bias in the selection of material, bias in its organization and presentation, and, inevitably, bias in its interpretation. Consciously or unconsciously, all historians are biased. Due to memories completely subjective nature, history although also being somewhat subjective, it is a great deal more objective than memory.

Sample 11 “How are we to know the past?” Using The Fiftieth Gate and two other texts explore this question.

Traditionally, history has been regarded as a factual account of the happenings of the past. This Manichean outlook has been held in high esteem in our attempt to explore human progress. However, with the relatively recent advent of Postmodernist Ideologies the claim that history is an objective, absolute truth has been regarded as a delusion. Postmodernism claims that history, because it is a representation is a misrepresentation.

Postmodernism suggests a multitude of ways in which an event can be viewed, each with its own validity and each vital in order to gain a broader understanding. Whilst the binary type thinking of modernism is suspicious of memory, it has become one of the most highly embraced postmodernist tools in the exploration of the past. Memory has begun to be explored as an alternative and complimentary discourse to history.

Mark Baker’s The Fiftieth Gate, subtitled a Journey through Memory, is a fascinating example of an attempt to explore the past through the means of both discourses as Baker attempts to gain an elementary understanding of his parent’s holocaust experiences. As a historian he feels the need to validate his parent’s stories through documented evidence. He values the structured nature of history and uses it to validate memory. In opposition to this, his mother disregards the documentation, placing greater emphasis on personal experience and memory, “You read, you read. Books, books, everywhere. But do you know how it feels?” This contrary thought positions the responder to appreciate the benefits of exploring the respective discourses.

Baker, himself, also begins to question the methodic way in which he is exploring the history of his parents, “Does history remember more than memory? Do… I only recognise suffering in numbers and lists and not in the laments and pleas of a human being…”. In this way, The Fiftieth Gate presents archival evidence as inadequate but also implies that one cannot entirely rely on memory. Baker shows that memory forgets, lapses and is clouded by trauma and emotion. His fathers recount of being forced to march on a cold winters day, while recorded evidence talks of an unusually warm afternoon is one example of the fallibility of memory. However, even with their respective weaknesses, Baker demonstrates that each discourse must be explored parallel to one another in order to gain insight into the discourse of history. William Sinner states “Instead of trying to separate these elements, (Baker) embraces their continuum by adopting both a realist and antirealist approach”. He adopts a bricolage of styles, deriving from both the historical discourse and the discourse of memory in order to allow his responder to view his parents experiences from a multitude of ways. Poems, dictionaries, statistics, interviews and letters are all ways in which Baker enhances the responders ability to know the past. Baker, whilst utilising his proficiency as a historian, embraces the memory of his parents in his exploration of the past.

An explicit example of history and memory working opposite one another to provoke understanding can be viewed in the Sydney Jewish Museum. The museum itself uses objects to communicate the narrative of the holocaust enforcing an appreciation of historical discourse within its audience. Complementing the systematic nature of the museum is the presence of various manifestations of memory such as video footage, written testimony of survivors, interactivity (eg. the claustrophobic nature of the ghetto section), and of most significance, the Tour Guides – each a holocaust survivor. Each of these aspects, offer the information presented within the museum within their own context. They transform the 2D documentation into the tangible, humane form of memory, evoking empathy and thus inducing an overarching understanding of the events for their audience. It seems that human nature demands more than the cold, detached representation of history in documentation. The museum displays the need for both history and memory in representing an historical event such as the holocaust and stresses the importance of examining an event from a number of fields.

The capability of memory to colour historical discourse is also explored in a speech written by William Macmahon Ball as a response to his visit to the Sachsenhausen Concentration Camp in 1938. ‘Mac Ball’ embraces the confluence of History and Memory, using both elements to trigger greater understanding within his audience. His speech commences by offering aspects of his visit such as date, time, historical context and geographical location. This data provoked an easily established understanding of these formalities for the responder, uninterrupted by the anarchic nature of the discourse of memory. As a result, he demonstrates the benefits and clarity offered by the clinical disposition of historical discourse.

Once a broad understanding has been established, ‘Mac Ball’ dramatically changes the tone of his speech. “So far I have been speaking only of externals. But the thing wanted most to see was the type of men in a concentration camp, their expression, and the relationship between guards and men”. Within this sentence he transforms his speech, from one based on historical documentation, to one which embraces the necessity for the discourse of personal interpretation, the discourse of memory. Memory revitalises the message ‘Mac Ball’ is attempting to communicate to his audience. “I saw many faces which I thought showed character, sensitiveness and intelligence… In the eyes of most there was deep misery… mixed with fright and… in some cases terror is not too strong a word.” Through compassionate and empathetic language, the camp is brought to life, provoking sympathy and understanding within the minds of his audience. They are able to grasp a far broader understanding of the past and of the message Mac Ball is trying to convey as they acknowledge the atrocities of the concentration camp from within the historical discourse and furthermore, from the compassionate and empathetic stance of the discourse of memory.

Whilst it is not possible for one to entirely “know” the past, The Fiftieth Gate, the Sydney Jewish Museum and William Macmahon Ball’s speech on the Sachsenhausen Concentration Camp are all examples of texts which exploit the broadest and most overarching methods in their attempt to know history. Through their exploration via the discourse of history and the discourse of memory they gain and provoke understanding for themselves and their audience into the past. In embracing both these elements each respective text gains incredible insight and appreciation of the narrative of history.

Sample 12

Differing and personal opinions, reflections and experiences of events can provoke great debate in the way in which history is recorded and interpreted.
History, which can be viewed as a chronological series of indisputable events can often conflict with the memories that creates, validates, illuminates and humanises it. Both history and memory can be unreliable, as memories are highly subjective and vary due to perspective, and in being intertwined effect the way which these events are recorded. The three texts, ‘The Fiftieth Gate’, ‘Ozymadias’ and ‘The Bridge on the River Kwai’ all emphasise these points. Through this, I have discovered that memory gives history a personal perspective, that both history and memory can distort as well as illuminate and that history is a product of an historian's personal representations of a selection of memories, not an absolute truth.

Memory gives history a personal perspective that is necessary in understanding the historical value and meaning of both the past and the present. It is through a personal perspective of history that enables discovery and journeys to occur of self awareness and appreciation not only of the past but also how it has effected and created the present. This is clearly illustrated in Mark Baker’s ‘The Fiftieth Gate’, which tells of a journey of self-discovery and awareness in the search for the understanding of the past. Travelling to his parent’s homeland of Poland, Baker is taken through a journey of historical events through his parent’s own personal memories of the holocaust. We see through Baker’s visit to Treblinka and the video recordings of his parent’s memories of the holocaust, that these memories and experiences of his parents, gives him a personal perspective and understanding of historical locations and the holocaust. On his visit to Treblinka, Baker comes to a more personal understanding of the effect that this has had on his parents.. Baker visits the infamous concentration camp and listens to the recital of a Hebrew verse “here in this carload I am eve with abel my son. If you see my other son cain son of man tell him that I”. Baker is able to understand this verse and find value in its meaning through his father, Yossl’s memories. Yossl’s own mother and sisters were taken away by train, and it is through Bakers personal connection, he is able to find value and understanding of this.
Bakers video recordings of his parent’s memories, show the highly personal aspect of historical events and show their own personal emotions in the facts of the holocaust, such as revenge, pain, grief. ”I didn’t know where I was. The Germans threw bread into our wagons and people jumped on it like hungry animals, one on top of the other. People killed each other for a bit of food”.

These memories give Baker a deep and personal understanding of the holocaust, and in visiting historical locations allows him to come to a better understanding of his parent’s ordeals. We see through the text that Baker’s understanding of his parent’s past allows him to not only understand their present attitudes and values but also his own past and present feelings and values of his parents history. “ I realise how deeply buried is his pain. I have always pitied myself for the grandparents I do not have, rarely considering my father’s own orphaned state”.

Without this personal perspective of history and without the memories we find that history will also loose its significance and importance. We see this through P.C Shelly’s ‘Ozymandias’, a poem of the incomplete, in which the importance of memory is suggested in keeping history alive. The poem depicts the insignificance of the individual in history, how once memories of the past are lost they cease to exist
Shelly emphasises this using sonnet form, descriptive language and irony to describe the desolation surrounding the once great king. Words such as “ shattered visage”, “half sunk”, “decay”, “colossal wreck” all show how the great has come to nothing with the absence of memories and personal perspective. Shelly uses irony to contrast the past with the present, stating that memories form a link between the past and the present and without this link, the individual is insignificant. “nothing beside remains. Round the decay of that colossal wreck, boundless and bare, the lone and level sand stretch far away” is ironic with the plaque that reads “look on my works, ye mighty, and despair!”.

Both history and memory can distort as well as illuminate. Memories can be inaccurate and often falter in recalling the events precisely as they happened. How an event occurred, and ones perception of that event can be two entirely different things based on the person’s personal experiences. This can effect the way in which history is recorded and interpreted, as historical events may not be cohesive with the way an individual remembers.

In “The Fiftieth Gate” we see the discrepancies that can occur when memories do not match up to the facts. Genia’s memories distort reality when they return to her hometown of Bolszowce where she becomes disoriented. Baker compares her memories with reality to emphasise this. “ I remember where we lived in Bolszowce. This must be the park. No? I played here, I’m sure it was here. Follow me there must be a gate…the gate, I don’t see the gate. My god how its changed”. Genia’s memories of believing that she was kept in the dark during the holocaust also emphasise the idea of distortion. ”In a cellar all day, underground and closed, and nothing, in the darkness, all the time”. Baker finds out from the people that she had stayed with, that she hadn’t been kept in the dark at all. “ But they do not remember the blackness. They recall a little girl staring endlessly out of a window”. Part of Baker’s journey is the understanding of the role that memory has in history. Baker realises that although his mother’s memories don’t match up to the historical evidence, it was her perception of this time in her life and her feelings that shape her memories. Her believing that she was kept in the dark is linked to being kept hidden and the feeling that accompanied this. This is very similar to Yossl’s recount of the day he last saw his mother and sisters, and was sent to work at a prison camp and also illustrates how his perception of the past differs from fact. He remembers marching and it being very cold “It was cold, winter, we had winter boots on, the ones with money sewn inside”. The date though as Baker discovers reveals something different. “He says it was cold. Winter. But it was autumn”

Memory also has the ability to illuminate and emphasise certain aspects of history. This is shown in Pablo Picasso’s painting ‘Guernica’, a reflection and expression of the rage, pain and suffering that occurred consequently when on the 26th of April 1937 German planes dropped 100, 000 tons of bombs on Guernica, a small Spanish civilian town. Picasso’s painting became part of a collective conscienousness, defining the 20th century’s image of war and destruction. Through symbolism of monochromatic colour scheme and images of death (detcapitaded body), destruction (broken light bulb) and grotesque suffering (speared horse, splayed fingers and toes), Picasso illuminates his personal interperation of the event and makes a personal historic source, contributing to the way in which people remember and reflect.

History is a product of an historian's personal representations of a selection of memories not an entirety.
The link between history and memory is the way in which human experiences are perceived. Not all representations of the past can be recorded and it is through the historian's perceptions and personal interpretations of human experience is history calculated and recorded. This indicates that historical events are not subject to change, but people’s perceptions of these events. In the ‘Fiftieth Gate’ and ‘The Bridge on the River Kwai’, we see how history fails to capture events and experience due to lack public memory?

Sample 13 “It always begins in blackness, until the first light illuminates a hidden fragment of memory.” Mark Raphael Baker’s “The Fiftieth Gate” acknowledges the importance of both history and memory in the search for truth. History is the culmination of evidence that portrays a past event; it is reliant on facts, attitudes and cultural values and is often credited with being the most objective and reliable way to view a particular event, personality or situation. Memory on the other hand is an individual’s recollection of the past; and being personal and subjective, is fragile and often biased. Baker’s non-fiction text effectively incorporates a variety of representational methods with stylistic features in order to explore the interrelationship of both history and memory. Such notions are also depicted in Christopher Nolan’s film Memento and William Black’s poem Colours of War. These texts use a plethora of structural and poetic devices to explore the truth surrounding human suffering through conveying the positives and negatives of history and memory.

In The Fiftieth Gate, Mark Baker questions the validity of history and memory through the continual cross-referencing of information and perspectives. He seeks the ‘truth’, and wishes to record his parents’ stories correctly. The text is a combination of primary sources and personalised accounts intertwined; “This was the deal. I would give them my knowledge of history; they would give me their memory.” While Baker himself grapples with the notion that memory is highly subjective while history is more reliable, he eventually acknowledges the equal validity of both approaches. He makes known to the audience his altered perspective when he questions, “Does history remember more than memory?” As such, Baker becomes a mediator between past, present and future, believing that it was imperative that he “listen to her story…record her life for the sake of our children.”

As a Historian, Baker uses history as a certifiable source to validate and substantiate his parents’ memories. He draws upon archival evidence, documents and “fecks, fecks” in his quest for understanding. Baker’s father, Yossl, is a camp survivor. He represents a shared history and shows a sense of solidarity gained from it. Baker is able to challenge his father’s memories through widely accessible historical data, “Prove it…I don’t believe this part. Prove it!” Genia, however, is not part of this culture of shared history. Her history is a personal and individual one that relies mainly on the recollection of memory. Her son, seeking for truth, “searched history to vindicate her stories”, but unable to cross-reference her version of the events she experienced, becomes agitated and frustrated. Eventually, the historian is forced to regard history and memory as equally valid, as a consequence of his attempts to substantiate history through the very method he originally holds in doubt.

Memory remains fragile; easily lost or manipulated but it can also be an important incentive for action. In the film Memento, protagonist Leonard Shelby is unable to form new memories after a brain injury called anteriograde amnesia. He therefore writes everything down as he records his memory through photographs. Leonard’s ‘story’ is fragmented, reflected by the non-linear structure of the film, and we as responders question Leonard’s ability to form a coherent understanding of his history. The fractured, intervening storyline is made more complex by being depicted in short, compartmentalized segments and flashbacks that have the tale looping back on itself, fusing past and present. This complex storytelling structure mirrors in some ways the method used by Baker in “The Fiftieth Gate.” As film critic, Cynthia Fuchs has observed, “viewers become detectives themselves. For a long time, they’re struggling as much as Leonard does, to create a “coherent narrative out of all the pieces”. Phrases such as “trust your own handwriting” connect with the assertion of documented history being unquestionably true and valid, as opposed to memory or oral history. The film shows us how both memory and history can be circumstantially manipulated and distorted. As Shelby reflects, “Memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts.” Leonard, like Genia and Yossl, has lived through traumatic experiences which colour his view of history. Baker incorporates a variety of stylistic features to convey the nature of history and memory as well as to impact on the viewer. Fifty chapters or ‘gates’ symbolising Baker’s journey through his parents’ stories form the structure of the book. Each gate reveals a personal discovery in Baker’s uncovering of his parents’ past and his understanding of their experiences. The gate motif provides contrasted connotations between sources of obstacles and doorways to understanding, as we the audience are invited to “come and see”. The non-chronological structure of the text mirrors the random nature of memory. Genia recalls events through certain triggers, “I then turn to a photograph”. Baker’s unique structure creates a personalised and very immediate atmosphere. His intricate detail is aided by rich emotive language, allowing a greater sense of empathy and understanding for the responder.

Sample 14 ‘At the heart of representation are the acts of deliberate selection and emphasis’
Do the texts you have studied demonstrate this in relation to ‘History and Memory’

Deliberate selections and emphasis are always encountered in the representation of events, personalities and situations. What is seen in this is that particular selections of historical documentation and writings can make the representation of events biased and misinterpreted. This veers from the once held, traditional, belief that history is completely objective. Post-modernist schools of thought now confirm the notion that deliberate selections are made when writing history that can impact on the veracity of what is represented. Undoubtedly however, memory is also biased and being personal rather than academic, can be highly subjective. It is subject to the ravages of age and health so that details can be easily forgotten or distorted. These notions can be seen in Mark R. Baker’s The Fiftieth Gate, the famous Redgum song, I was only nineteen and an article published in the Hawkesbury Gazette on 10/10/2001 titled, Mind and Body to Work as One. Through their representations of war and its effects on human experience, particular comments can be made about the way history and memory overlap and fuse to more fully and truthfully represent the event, war and its experiences.

Baker in The Fiftieth Gate employs a personal tone with factual documentation and his parents memories to reconstruct the events of the past. He realizes that the integration of both history and memory is needed, shown by his pledge; “I would give them my knowledge of history; they would give me their memories”. And so the reconstruction begins, also inviting the audience to join him on the quest for ‘truth’, where in the epigram, and integrated throughout the text , the symbol of gates are used to represent the moving towards understanding. The short invitation, “come and see” implies that there needs to be someone that wants to find the truth about experiences and events for they will not superficially seek just a “deliberate selection and emphasis”.

Typical of the non-fiction genre, Baker includes specific historical statistics, letters and other texts to offer information about an event, personalities and situations. The Holocaust is personalized in references such as those of “Count Choo-choo”. This self titled “interrogator” subverts the conventions typically found in non-fiction texts by using evocative and poetic language in order to draw on emotions of his parents to express their true feelings. This better enables the reader to identify with both Baker as author and as a second-generation son of Holocaust survivors. This lends the text an intergenerational focus that makes it more powerfully resonant. The use of italics to document exact recollections of his parent’s memories fused with the use of explicit historical documents validate each other and authenticate the resultant representation of the event.

Baker uses historical documents to corroborate his parent’s memories and when he continues to hear his mother’s story he begins to doubt it since there is very little historical evidence to validate it. His badgering of information makes her exclaim in frustration “Yes. What do you think, I’m making this up?” Here Baker clearly shows how he will not accept a version of an event based purely on memory.

Redgum’s famous song I was only nineteen, shows how memory can be used to validate history, by drawing on the audiences historical knowledge of the Vietnam war. This utilizes cultural memory to enhance meaning and strengthen understanding of personal suffering. By including specific place names such as “Puckapunyal”, “Vung Tau” and “Nui Dat” and having it as a story like recollection proves that events did actually occur there. Also the harmony in the last verse exemplifies that there were many people that experienced this and tat the historical documents of death registers, survivors and of the other facts were actually true.

Both texts also demonstrate why an event can not be represented solely as a deliberate selection of history and of memory. Mark Baker explores the fallibility of memory, noting comments such as his father’s, “I wish I could forget what I remember”, displaying how people bury their memories as a way of coping. By doing this there is no doubt that details will be forgotten as will a lot of the memory of the past. This is the reason for Baker’s continuing demand of his parents, so they do not forget anything.

The concept of historiography, the way history is written, is very important to note when it comes to understanding why history is not reliable enough on its own. In Gate XXIX Baker points out and contrasts two very different interpretations of events, done by truncated sentences on introducing i.e. “Our sages remember” “My parents remember”. In I was only nineteen” this issue of historiography is also noteworthy. In the lyric “The ANZAC legend didn’t mention the mud and blood and tears” there is a direct allusion to the symbolism often associated with significant historical events. The truths were not in the “legend” and so memory was able to challenge historical misconceptions.

This is similarly examined in a newspaper article published by the Hawkesbury Gazette in the 10/10/2001 where the use of typical journalistic features of 3rd person and factual investigation of post traumatic stress disorder reports on Tom Sharp, a war veteran and sufferer of the “mental health disorder”. The use of evocative words such as “seep” and “sink” personalize the experience as the audience tries to understand that for veterans like Tom, even though they “tried to suppress their memories, sometimes even decades later, they would seep back in various insidious forms”. Tom implies that historians are subject to personal and academic bias, and the only way to fully comprehend an event, such as his, is to have first hand accounts.

Therefore there is no doubt that in order for a complete representation of an event both history and memory are required to work together. These texts demonstrate how together they can generate a greater truth. The Fiftieth Gate shows how “we are the sums of our experiences” represented by the symbols of light and darkness as the shades of individuality, shaped by experiences. This final and integral understanding reached by Baker at the 50th Gate demonstrates that the context is just as important as the person. Both are needed in a type of negotiation before comprehension can be ultimately attained.

Sample 15

Write the transcript of a speech you would give to a group of senior students, analyzing the representative ways composers influence the response of an audience on the theme of history and memory

When we think of the past, we often think of the dusty tomes of history; facts, figures and statistics that tell us much about historical events, yet at the same time, very little. Often overlooked, however, is memory, an emotionally intense reconstruction that helps to explain the past through the eyes of survivors. Yet it too has its flaws, being fragile and open to distortion and manipulation. Academic revisionists however are evaluating the impact and significance of memory and its validity as a signpost towards historical truth. Literature including Mark Baker’s The Fiftieth Gate, Stephen Esrati’s feature article Mala’s Last Words and Alexander Kimel’s poem I Cannot Forget all examine these issues through different mediums, asking us the question; how are we to know the truth about the Holocaust? While we can see in them various methods and techniques in dealing with the past, what they agree on is that history or memory alone are not enough to reconstruct the Holocaust; we must use them together if we want to understand the reality of mankind’s darkest hour. Therefore, as senior students, it is necessary to examine the various means of representation as well as what is presented in such texts when examining the interplay of history and memory as a validation of truth.

In examining these texts, their forms highly influence the way they recreate the past. As a non-fiction text, The Fiftieth Gate is highly informative and educative. However, Baker also subverts this medium by intertwining typical factuality with atypical accounts of his parents’ memories, as well as his own.  He examines their “darkest nights” in order to provide an emotional and personal portrait within the wider historical framework. Mala’s Last Words, on the other hand, on a broader scale, aims to investigate the “perpetuation of myths” of the Holocaust as a result of the misuse of history and memory. It remains more universal in its depiction of the past, although it utilises the “Jewish heroine” of Mala and the conflicting accounts of her death to demonstrate that in some instances “Even the most basic facts cannot be ascertained”. By contrast, I Cannot Forget, as a poem, is highly personal and intimate, examining the Rohatyn Aktion in isolation to reflect on its lingering impact in the present as Kimel asks us “How can I forget?” The function of remembering and forgetting are explored in myriad ways, fascinating the responder and making them reflect.

The repetition of this question forms a structural framework to Kimel’s memories, bringing us back to the present to highlight that he is re-living the experience, not just remembering it. In all these texts, the structure is integral to their revelation of the past. In The Fiftieth Gate¸ Baker divides the book into fifty chapters or ‘gates’ that reflect the levels of understanding that both he and the audience gain as a result of the “exchange of pasts”. The gate is an important symbol within Baker’s work; it represents the ultimate knowledge of the past, opening “the blessing or the curse”. Through it, we can respond emotionally to the anguish suffered by the entire family due to “memory’s black hole”.

The language of The Fiftieth Gate is highly descriptive, using phrases such as “empty and chaotic landscape of death” to visually represent the trauma associated with memory. By doing this, Baker makes us more emotionally engaged, eliciting sympathy within us and allowing us to understand not only the suffering of the Bakers, but of all Holocaust victims. Similarly, I Cannot Forget uses imagery such as “shadows, on swollen legs, moving with fear” to demonstrate the vivid nature of his memories. By contrast, Mala’s Last Words remains explicitly formal and objective rather than emotional in its tone, giving it greater authenticity and credibility in criticizing the subjectivity of “eyewitness testimony”.

As a feature article, Mala’s Last Words is primarily a didactic text that aims to inform the reader of the “myth of Jewish passivity”. I Cannot Forget is similarly didactic, although it aims to provide emotional understanding rather than factual knowledge. Kimel explicitly states his aim to “Never Let You Forget”, to pass on the memory of his experiences. The Fiftieth gAte, however, is largely dialectic, allowing us to make up our own minds about the Holocaust and the historical and personal veracity of the accounts. Baker utilises different sources such as Herman Muller’s confession to examine both sides to the Holocaust: however, he also criticises many of them to convey their flaws and weaknesses. The rhetorical question “Where have the millions of Jews gone?” emphasises to us the elective nature of history and its subjectivity.

The bricolage of historical and personal sources is integral to Baker’s examination of the past. He dovetails his parents’ versions of events with historical documents that either support or contradict their memories. This shows his innate objectivity as a Historian but it is tempered by his also being a ‘son’. By doing so, we can see the lack of any clear truth surrounding some events, particularly Genia’s “childhood buried in a distant sepulchre”. Baker does concede that “The last moments can never be retrieved by history. Nor by memories”, and therefore he uses imaginative reconstructions of events such as Hinda’s death to encapsulate their tragedy. Present tense is employed in these, through phrases such as “two eyes watch from behind glassy cavities” to make them more immediate to us, and thus amplify our response.

While many of these events may seem almost surreal, Baker uses a variety of literary methods and techniques in order to ground them in reality. For instance, Jewish idioms such as “Fecks, fecks” establish a cultural heritage for Genia and Yossl as well as adding depth to their characters. Foreign terms such as “Judenrein” and “shtetl” also reflect the social and cultural factors surrounding the Holocaust. Mala’s Last Words also uses jargonistic terms such as “sonderkommando” to add veracity to Esrati’s exposition of the misnomers of the past. The personification of “the result that keeps screaming the number SIX MILLION as a result of its failure” reflect the ability for statistics to falsify the past, being misrepresented so that some aspects of the Holocaust such as “the Jewish resistance” are downplayed. However, I Cannot Forget deliberately refrains from this, using simple language to allow us to have a deep empathy for Kimel, unclouded by the use of complicated terminology.

Kimel’s poem utilises the motif of mothers and children to emphasise the destructive nature of the Holocaust. The line “Mothers searching for children in vain” is particularly emotive: how can we not respond so such a poignant image? The Fiftieth Gate also uses symbols such as rocks. As well as acting as a representation of culture, since “Jews remember with stones”, they also reflect the lasting impact of the past on the present, trapped in “Rock’s petrified memory”. The motif of light and dark is also used to express the simultaneous enlightenment and trauma experienced by exposing the past. Phrases such as “His words break out from their glacial silence, releasing a torrent whose flow runs backward into his darkest nights” convey to us the suffering caused by memory, triggered by Baker’s “theft” of their experiences. However, this ultimately allows Baker to share with us the reality of the Holocaust: through both history and memory we can identify the truth as containing both historical veracity and emotional intensity.

Across different forms and media, composers influence their audience and shape their response. Particularly regarding history and memory, we can see in different texts attempts to explain to us different facets of the past. However, in Baker’s book, Esrati’s article and Kimel’s poem, we can see a consensus in the roles of the two interrelated concepts in examining the Holocaust. Alone, they are subject to their own flaws and weaknesses; however, together they can overcome their issues to reconstruct the past with a greater sense of truth. BY doing this, they offer a factual and broad perspective of the Holocaust, yet one which also reveals the personal impact of the experience in the present and into the future.

Sample 15 – Rewritten as a Feature Article

The Holocaust Everlasting
One tragic event cemented in history and the memories of survivors

The Holocaust stands out as a landmark in the twentieth century, a horrific demonstration of man’s inhumanity to man. Over six million people were killed, the majority of them Jews, in what is quite possibly the greatest catastrophe of humanity.

And yet, even though the tanks rolled over the barbed-wire fences and the victims were freed, the Holocaust did not end for those who endured it. Even today, its legacy can be felt by the lasting impact it has had on the survivors, as memories linger on. The tragic past is firmly etched in history and in the lives of people around the globe, not just those directly affected.

And so, how is the Holocaust to be examined: as a personal, emotional account, or as an historical, factual one? Certainly, both history and memory have their flaws. Whilst historical accounts often appear to be objective, they are often highly selective and interpretative, and subject to bias and control. By contrast, memory offers an emotionally intense account, yet one that is fragile, highly subjective, and can be distorted.

Perhaps, then, the best way to explore the Holocaust is through a combination of both methods. Baker’s book The Fiftieth Gate, Stephen Esrati’s feature article ‘Mala’s Last Words’ and Alexander Kimel’s poem ‘I Cannot Forget’ take this approach, combining historical veracity with personal emotion to create a more accurate reconstruction of the past, while at the same time examining the flaws inherent in both history and memory in portraying a great human tragedy.

While most non-fiction works of literature are highly factual and informative, Baker’s The Fiftieth Gate subverts this typical approach. He combines historical accounts of the Holocaust with the story of his parents, Genia and Yossl. In this way, he is able to examine both the broader picture of the event and the specific, personal accounts of two of its survivors, whose memory is like an “empty and chaotic landscape of death”.

This approach also allows Baker to demonstrate the lasting impact of memory on the present. In particular, Yossl as “Yesterday’s tattooed prisoner” is both free from the torment of the past and enslaved by the memory of it. By doing so, Baker is able to express how, for many, the Holocaust did not end in 1945.

BY contrast, ‘Mala’s Last Words’ is a feature article which aims to inform and educate the reader. Overall, the article examines more broad concepts such as the “theory of Jewish passivity” to demonstrate the ability for history to conceal the truth. However, it utilizes the “Jewish heroine” of Mala to expose the weaknesses of both history and memory, as “even the most basic facts [about her] cannot be ascertained”.

‘I Cannot Forget], however, takes a completely different approach, focusing entirely on the personal story of Kimel. He uses repetition in phrases such as “Do I want to remember?” to convey to the reader how he is continually drawn back into his memory, despite his efforts to forget. This structure also emphasises the continual sense of mourning through all the events of the Rohatyn Aktion.

The Fiftieth Gate employs a cyclic structure, which allows the audience to comprehend what they have learnt through the “exchange of pasts”. It also demonstrates how Baker himself grows and matures, in questioning his role as “The People’s Investigator” and the effect his interrogation has on his parents. .The book is divided into fifty chapters or ‘gates’, which represent the different levels of understanding the author and the reader gain through history and memory.

The gate is an integral symbol within the account, representing ultimate knowledge and understanding, “The darkness or the light”. By utilizing the gate motif, Baker exposes the flaws of the “broken heart” of memory and the “forgotten heart” of history as ‘keys’, ultimately recognizing the inability of the two to, in isolation, reconstruct the past: only by combining the two does the Holocaust become clear to us.

However, the story of Genia and Yossl cannot be comprehended without understanding their cultural heritage. To do this, Baker employs Jewish idioms such as “fecks, fecks” and Yiddish songs like “Mein Shtetl Belzec” to add authenticity to the characters as well as placing them within the cultural framework of Jewish society.

‘Mala’s Last Words’ similarly employs jargonistic phrases such as “sonderkommandos”, however, they are used to enhance the article’s authority and veracity rather than provide depth of character. Overall, the article is a didactic text, which aims to inform the reader of the ways in which both history and memory can “perpetuate the myths” of the Holocaust.

The contradicting “eyewitness testimony” to Mala’s death, with accounts indicating “quite the opposite” of each other, underpins the argument that in many cases, no objective truth can ever be recovered. Too many variables and too many lost threads can keep the past clouded in uncertainty.

‘I Cannot Forget” is also a didactic poem; however, it aims to elicit emotional empathy rather than simple understanding from the audience. Kimel explicitly states his aim to “Never Let You Forget” his own experiences, as a means of honouring the dead in the “Mass grave steaming with the vapour of blood”.

By contrast, The Fiftieth Gateis primarily a dialectic text, which presents varying opinions such as Herman Muller’s confession in order to allow the audience to make their own judgements. However, Baker does critique many of the sources, such as the Polish census where he asks “Where have the millions of Jews gone?”

In spite of the bricolage of historical and personal accounts, there are still gaps in Baker’s portrayal of the Holocaust. In particular, the “untold deaths” of those who did not survive “can never be retrieved by history. Nor by memories”. Therefore, Baker utilizes imaginative recreations of incidents such as his grandmother’s death in order to provide an emotional portrait of these incidents.

To do so, he uses highly descriptive language such as “beady eyes watch from glassy cavities”. Present tense is also employed to provide immediacy and intimacy to these events, which otherwise could not be portrayed.

Imagery is also critical in ‘I Cannot Forget”: Kimel effectively recreates the action by combining visual and emotive descriptions such as “the faces of mothers, carved with pain”. The motif of the mother and child is utilized to emphasise the indiscriminant violence of the Nazis, as “mothers search for children in vain”.

In The Fiftieth Gate, symbolism is extensively used, through images such as light and dark The concept of the ‘curse’ of memory is established through phrases such as “His words break out from their glacial silence, releasing a torrent whose flow runs backward into his darkest nights”, representing the lasting impact of memory in the present.

Rocks are another important motif which identify Baker’s family as “Jews [who] remember with stones”. The cultural and religious icon acts as a representation for the damage and loss of the Holocaust, solidified in “rock’s petrified memory”.

In ‘Mala’s Last Words’, the razor becomes a symbol of the ultimate “freedom of death”, the only freedom Mala had “at the hands of the Germans”. Mala herself acts as a symbol, one through whom we can see no clear depiction through either history or memory. However, by combining the two, hopefully a real and vivid recreation can be made, with both emotional intensity and broader historical veracity.

As such a controversial topic, the Holocaust ahs inspired an array of different interpretations spanning a whole variety of media. Through different features and techniques, they all convey how neither history nor memory alone is enough to understand the past.

However, by combining the two, a whole new picture can be formed, and hopefully this portrait can demonstrate the truth behind the Holocaust and its lasting impact to the present and into the future.