Irena Grudzinska Gross

It seems at first commonplace: a group photograph of peasants at harvest time, after hard work well done, resting contentedly with their tools behind the fruits of their labor. But when one finally notices the "crops" scattered in front of the group, what seemed innocent on first view become horrific skulls and bones. Where are we? Who are the people in the photograph, and what are they doing? The starting point of Jan Tomasz and Irena Grudzinska Gross's Golden Harvest, this haunting photograph in fact depicts a group of peasants--"diggers"--atop a mountain of ashes at Treblinka, where some 800,000 Jews were gassed and cremated. The diggers are searching for gold and precious stones that Nazi executioners may have overlooked. The story captured in this grainy black-and-white photograph symbolizes the vast, continent-wide plunder of Jewish wealth that went hand-in-hand with the Holocaust. The seizure of Jewish assets during World War II occasionally generates widespread attention when Swiss banks are challenged to produce lists of dormant accounts, or national museums are forced to return stolen paintings. But the theft of Europe's Jewish population was not limited to conquering armies, leading banks, or museums. It was perpetrated also by local people, such as those pictured in the photograph. Lyrical and often heartbreaking, A Golden Harvest takes readers across Europe as it exposes the economic ravaging of an entire society. Beginning with a simple group shot, the authors have written a moving book that evokes the depth and range, as well as the intimacy, of the Final Solution.

Dieses Portrait der Freundschaft zwischen zwei Ikonen der Dichtkunst des 20. Jahrhunderts, Czeslaw Milosz und Joseph Brodsky, beleuchtet die Parallelen in den Leben der beiden Dichter und Literaturnobelpreistrager. Grudzinska-Gross greift auf Gedichte, Essays, Briefe, Interviews, Vortrage und eigene Erinnerungen als Vertraute der beiden Dichter zuruck, die einen Teil ihres Lebens im amerikanischen Exil verbrachten. Das Doppelportrait der Dichter und die Erlauterung ihrer Einstellungen zu Religion, Geschichte, Erinnerung und Sprache werfen ein neues Licht auf die Umwalzungen des 20. Jahrhunderts. Zusatzlich schildert die Autorin Miloszs und Brodskys Beziehungen zu anderen literarischen Schlusselfiguren wie W. H. Auden, Susan Sontag, Seamus Heaney, Mark Strand, Robert Hass, Derek Walcott.

It seems at first commonplace: a photograph of peasants at harvest time, after work well done, resting contentedly with their tools, behind the fruits of their labor. But when one finally notices that what seemed innocent on first view becomes horrific: the crops scattered in front of the group are skulls and bones. Where are we? Who are the people in the photograph, and what are they doing? The starting point of Jan Gross's A Golden Harvest, this haunting photograph in fact depicts a group of peasants--"diggers" atop a mountain of ashes at Treblinka, where some 800,000 Jews were gassed and cremated. The diggers are hoping to find gold and precious stones that Nazi executioners may have overlooked. The story captured in this grainy black-and-white photograph symbolizes the vast, continent-wide plunder of Jewish wealth. The seizure of Jewish assets during World War II occasionally generates widespread attention when Swiss banks are challenged to produce lists of dormant accounts, or national museums are forced to return stolen paintings. The theft of this wealth was not limited to conquering armies, leading banks, and museums, but to local populations such as those pictured in the photograph. Based upon a simple group shot, this moving book evokes the depth and range, as well as the intimacy, of the final solution.

A dual portrait of the exile poets Milosz and Brodsky This intimate portrayal of the friendship between two icons of twentieth-century poetry, Czeslaw Milosz and Joseph Brodsky, highlights the parallel lives of the poets as exiles living in America and Nobel Prize laureates in literature. To create this truly original work, Irena Grudzinska Gross draws from poems, essays, letters, interviews, speeches, lectures, and her own personal memories as a confidant of both Milosz and Brodsky. The dual portrait of these poets and the elucidation of their attitudes toward religion, history, memory, and language throw a new light on the upheavals of the twentieth century. Gross also incorporates notes on both poets’ relationships to other key literary figures, such as W. H. Auden, Susan Sontag, Seamus Heaney, Mark Strand, Robert Haas, and Derek Walcott.