The Holocaust Memorial in Berlin underscores both how insufficient language can be, and our failure to understand each other and the traumas of history.
is a field of stone slabs in Berlin. They rest like tombstones but without names; they’re hardy, claustrophobic, and pass time as an amalgamation of unresolved souls. When you’re deep inside, it’s easy to forget that there’s a way out. Kids populate the architectural project as if it were a playground, chasing each other around The Holocaust Memorial. Dragging themselves up and back, surging through rows, they laugh, and gasp for breath as they gain on one another.
There is a shift in the air from one place to the other. Here, it’s real. I can feel the air rejecting me, or maybe my parents plunged me deep into subconscious paranoia. I know that this isn’t the year 1942, and they have never actually been to Germany. The room that follows is covered in darkness too, but a lighter shade. Another projected image is drawn into my attention and flashes a name on a singular wall. A voice emerges over the speaker, first in German, then in English, explaining a two-to-three sentence background of the human name on the wall before turning into the next one.
I wonder how many edits were applied to Anne Frank’s journal, and if she was purposefully portrayed as someone who loved attention, so we would all think that this is what she would’ve wanted—to be the face of The Holocaust, almost as well known as Hitler. I mean no disrespect to Anne Frank, but it makes me so depressed to think of a young girl who is known because she is dead.
It might be my own mental block, and not truly the current state of being in Berlin, but I can’t get past it. I think that it is just the world that I’m truly mad at.
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