Auschwitz

Some time in the late 1950s, Jacques Derrida and other intellectual luminaries at the École Normale Supérieure in Paris were surprised to be told that the excruciatingly introverted German-language instructor they had been avoiding in the corridors for several years was ‘the greatest living poet in the German language’. Paul Celan was reputed to be as ‘difficult’ as his poetry – rebarbative, then intriguing and finally unforgettable. His best known poem is ‘Todesfuge’ (‘Death Fugue’), which may refer to Jewish musicians in a Nazi death camp: ‘Black milk of dawn, we drink you at night...’ He can be heard online reciting the poem in a rising tone of suppressed hysteria.

Shimmering off the cover of The Renoir Girls are sisters Alice (aged four) and Elisabeth Cahen d’Anvers (six), portrayed in all the promise and innocence of a pampered childhood by Pierre-Auguste Renoir. Aged 40, Renoir was then the coming portrait painter for the gratin of Paris, as he struggled to make ends meet with smart commissions from wealthy sponsors – a network of Catholic and Jewish banking families that included the Ephrussis (memorialised by Edmund de Waal in The Hare with Amber Eyes), Camondos, Rothschilds and Cahen d’Anvers.

Israel would not have been born when it was – 1948 – without Hitler’s genocidal war on European Jewry. Dispossessed Jews had to be provided with a home. In the rush to establish a Jewish state in Palestine, safeguarding Arab nationalism was not the most pressing concern. Israel’s foundation thus marked a turning point in the fortunes of the world more grievous than anyone could have anticipated. Most European nations supported Israel during the Arab-Israeli war of June 1967, when President Nasser of Egypt moved his troops into Sinai on the Israeli border and, as part of a violent pan-Arabist ideology, vowed to eliminate Jews (and Christians).

Anne Frank died of typhus in Bergen-Belsen in late February 1945. Her last days were spent in the sick barracks caring for her sister Margot, who had a high fever and smiled contentedly, her mind already wandering. Anne, too, had been feverish, but ‘friendly and sweet’, according to witnesses. Her last recorded words were: ‘Margot will sleep well, and when she sleeps I won’t need to get up again.’  Ruth Franklin’s superb and subtle book pivots around this moment, which is described in a starkly titled central chapter, ‘Corpse’. Half her study tells Anne’s story up to the tragedy of her death.

Bees and mammoth bones, a shipwreck, horse urine (preferably female), a 17th-century craftsman and a 20th-century genocide. Playing an extended narrative game of Only Connect in her latest book, the musicologist Kate Kennedy takes a bird’s-eye view of four lives and five centuries as she turns her own instrument, the cello, into a prism. Part history, biography and auto-biography, with digressions into anthropology, acoustics and aesthetics and an intriguing cast of characters, Cello sings richly. But you have to be willing to go on the journey. Has publishing reached peak personality-stakes?

The first time a friend told me that Hitler had the right idea about the Jews I was six. Most of my classmates agreed, and quoted their parents in evidence – from which I conclude that anyone who suggests that they don’t understand how the Holocaust happened is either a fool or a liar. It was a team effort by popular demand. If the Germans had won the war, no one would have felt bad about it. But the Germans lost. How awkward. Anne was freezing, starving and dressed in rags. ‘They took my hair,’ she said. Then she disappeared It became necessary to convince non-Jewish Europeans that mass-murdering Jewish Europeans was wrong. It was a hard sell.

Who would have thought that someone would write a novel about Josef Mengele, the Auschwitz doctor and infamous experimenter on live human bodies? Other characters in the French writer Olivier Guez’s story are also from the Nazi gang of debased criminals: Adolf Eichmann, Franz Stangl, the concentration camp commandant, and Klaus Barbie, the Butcher of Lyons. This is a historical novel, and Guez has researched it well. He invests the structure of events with his imagination and has Mengele relate his experiences throughout his long avoidance of capture. There’s a vivid sense of reality about the crazed, unrepentant eugenist’s attempt at an acceptable fugitive way of life, and Guez holds our attention by building dramatic suspense.

No one had prepared the Allied soldiers, as they began their invasion of the Reich early in 1945, for what they would find. The discovery by the Soviets of the extermination camp of Majdanek in July 1944, and Auschwitz in January 1945, had not really registered, not least because they had been partly emptied and demolished by the retreating Germans. In any case, no one – not the International Committee of the Red Cross, nor the Vatican, nor the British and American governments – had been able, or wanted, to believe what they had been told. The scenes of slaughter and horror that awaited the British, Canadian and American troops were unimaginable.

This is a book about boundaries — and relationships. At its heart is the eponymous house by the lake, which in 1927 was the first of many small wooden summer houses to be built in the village of Gross Glienicke. Both its situation, just outside Berlin in the lakeside area that would later abut Gatow airport, and its many occupants, from well-established German Jews to partying neo-Nazis, would expose the property to the more tidal waters of modern German history. But the house has not just provided a stage for human drama; arguably it has been integral to the action itself, helping to shape lives, just as it was itself transformed by Germany’s changing politics.

In September 1939 Britain went to war against Germany, ostensibly in defence of Poland. One big secret that the British government didn’t know at the time — and not until much later — was that while the Anglo-Polish alliance treaty was being negotiated during the previous months, the Poles had been actively training and arming terrorists to kill British troops in the Middle East. I don’t normally believe in convoluted conspiracy theories, but this one happens to be true. In the 1930s the anti-Semitic government in Warsaw wanted rid of 3.5 million Polish Jews. Initially they tried to pack them off to Madagascar. But then the Poles hit on the idea of helping Jews create their own state in British-occupied Palestine.

With a career of more than 60 years so far, Frank Auerbach is undoubtedly one of the big beasts of the British art world. His personal reticence, however, and the condensed, impacted idiom of his painting have contributed to his enigmatic, somewhat opaque reputation. Catherine Lampert, who has sat regularly and patiently for him since 1978, is uniquely qualified to throw light both on the man and his art, but the tactics she employs here are very different from those of Martin Gayford in Man with a Blue Scarf, his intimate, engrossing account of sitting for Lucian Freud. Matching Auerbach’s reticence with her own, she keeps herself largely out of the story, focusing instead on observations made by the artist over the many decades of his career.