Chutz-POW!: The Comic Book – Dora Iwler

The third story in the Chutz-Pow! anthology is that of Dora Iwler. As a teenager Dora managed to escape from Nazi captivity, twice! Here's the first page of her story with art by Dave Wachter.

Though it is the third story in the collection it was the last story I wrote. Dave was working on another major project and told me he couldn't even think about doing this one until at least April. That gave me extra time. I needed it. Maybe it was because I knew I was writing this one last that I just couldn't really grab the thread of Dora's narrative. I read the research I had on her but for some reason the details of it didn't stick in my head. There were elements of Malka Baran's story that I conflated with Dora (mainly the post-concentration camp events). Buried in the tons of research I had I suppose some loss of detail was natural. I do think that I was so focused on the previous stories that I just didn't allow myself to really focus on her until the others were finished.

In the end this turned out to be a good thing. For page count reasons Dora's story needed to be only four pages. As I delved into her story I realized that it was as rich as any of the others. I had already felt constrained by page with every other story. Now what?

Luckily by this time I was more aware of my tendency to overwrite these scripts. I tried very hard to condense Dora's story into specific but powerful images. Luckily I was aided in this endeavor by the amazing art of Dave Wachter.

I met Dave around five years ago when he moved to the Pittsburgh area. Since then his professional comics career has exploded (see his bio/credits below). Due to other projects Dave had fairly limited time to work on this story. As I expected he turned the assignment around in a fairly short period of time and gave me four beautiful pages.

Dora's story proved challenging for other reasons as well. Her experiences included a couple of scenes of pretty intense violence. Now obviously the entire Holocaust was filled with violence, but in the other stories in this volume it was peripheral to the anecdotes I chose to relate. But with Dora it was a central part of her experience and survival. I needed to find a way to show the violence that wasn't exploitive or voyeuristic but that also didn't sugarcoat it. This book is going into middle and high schools as well, so a PG-13 rating was in my mind. On a personal level I also felt that if I was too graphic in this depiction it would be like committing the violence against Dora again.

I found a way to address this in my script and Dave's art perfectly conveys the horror without being graphic.

Dora's spirit of resistance and defiance are perhaps her defining characteristics. I hope this story does justice to that.

Dave Wachter’s professional career includes his artwork for Robert Bloch’s That Hellbound Train, Godzilla and Teenage Mutant Ninja Turtles, and the mini-series Night of 1,000 Wolves (all from IDW Publishing). In 2012, he was nominated for the Russ Manning Most Promising Newcomer Award in comics, and he was the artist for the mini-series Breath of Bones: A Tale of the Golem for Dark Horse Comics. In 2014, Dark Horse will release a hardcover edition of his Eisner and Harvey Award nominated web-comic The Guns of Shadow Valley. You can see more of his work at http://davedrawscomics.blogspot.com/ where he recently posted a process blog about working on this project.

As a fun personal note that has nothing to do with Chutz-POW! I wanted to share this. In one of the Teenage Mutant Ninja Turtles issues Dave drew he drew Marcel Walker and me into one of the scenes. I've pasted it below.

Come join us at the CHUTZ-POW! Superheroes of the Holocaust Launch Party

on Thursday, August 14th at the ToonSeum!

Chutz-POW! Cover Synchronicity

Marcel has talked about his process creating the cover for the Chutz-POW! comics anthology. You can read about it at his blog. What I want to mention in this short blog is a great little visual synchronicity that happened a couple of weeks ago. First, here's the cover as a visual reminder.

Art by Marcel L. Walker

As I mentioned in my last blog my father, Keith Wise, served in the 7th Armored Division in World War II. When I showed him a proof copy of the comic he started talking about some of his experiences. Dad doesn't really talk about the more difficult experiences of the War. He drove a jeep and was part of the division that held Saint Vith against the German assault during the Battle of the Bulge.
While we were talking he brought out a small well-worn booklet that he was given after the War detailing the activities of the 7th Armored. I had seen this book before but it had been a long time.

The booklet is an overview of what the 7th Armored did during the war with tons of pictures and and maps of their route through Europe, ending near the Baltic where they met the Russian Army.

When I turned the book over and saw the back cover I was stunned.

I had completely forgotten this image, and Marcel never saw this picture until well after the book went to the printer. Our cover was simply meant to be.

Come join us at the CHUTZ-POW! Superheroes of the Holocaust Launch Party

on Thursday, August 14th at the ToonSeum!

Chutz-POW!: The Comic Book – Moshe and Malka Baran

The second story in the Chutz-POW! anthology is actually two stories in one. Moshe and Malka Baran met in a displaced persons camp in Austria after World War II. They were married and spent the rest of their lives together. Though their experiences during the Holocaust were very different I thought it was important to tell them as one tale, linking their lives both before and after they met. Given the complexities of telling two stories in one this ended up as the longest story in the book at eight pages.

Here's the first page of their story with art by Marcel (M.L.) Walker.

Moshe was a partisan resistance fighter. He lived in the forests and swamps of Poland for two years fighting a guerrilla war against the Nazis. One of the questions that people seem to ask when trying to understand how the Holocaust could have happened is, “Why didn't the Jews fight back?” Historically speaking there are probably lots of answers to this. Moshe's answer is direct and simple.

“I fought back!”

Malka was imprisoned in a labor camp when she was a young teenager. She spent over three years there, wearing the same clothes, forced to clean shell casings in a Nazi war factory. She survived until the camp was liberated. But there is another piece of her story that is so amazing that it sounds completely unbelievable, though completely true. It's the focus of the story in the book, so I won't relate it here in full, but...

Malka and the other women prisoners kept a small child in their barracks, hidden from the Nazi guards.

In all of the stories I tried to use the actual words of the Upstanders wherever I could. These were their stories and in most cases their words carried more weight and were more powerful than mine. In the case of Malka this was not only easy, but was also a joy. Malka was a poet and spent much of her life trying to communicate her experience through her art. In her written words and in interviews, both on paper and on video, she was elegant and powerful. For many of the panels in this story I decided to just step out of the way and let her speak.

The story was drawn by Marcel Walker and of all my scripts this is the one that went through the most structural change from the written page to the final artwork. Wanting to tell both of their stories in the same piece presented a structural challenge that was unique in this volume. I essentially wrote Moshe's story, then wrote Malka's. The question then was how to unite the two. In my thumbnails I played with having one of them in its entirety, followed by the other, then uniting them on the last page. I toyed with the idea of alternating pages, one at a time for each of them.

For the framing sequence I came up with the idea of the older versions of them speaking at an event, telling their stories to an audience. This allowed some leeway in the way the stories were presented.

Marcel read the scripts and rearranged the information I gave him, maintaining the stories I wrote but presenting them in a sequential order I hadn't considered. It made the story stronger (you can read his process blog about drawing this story HERE).

Marcel and I added a personal reference to the story.

My father, Keith Wise, served in the 7^th Armored Division in World War II. He drove a jeep for his company Captain, William Borcherding.

In Moshe's narrative he relates how, near the end of the War his group of partisans joined the Russian army. He then recounts how they met the American Army near the Baltic in the first week of May, 1945. My father was there, so Marcel drew him into the story.

Dad has told me stories of meeting the Russians and sharing food and cigars with them. When I read Moshe's story I remembered those stories. Now I realize that the chances of Dad and Moshe actually having met are remote, but it made for a very personal connection for me that I felt I had to slip into the book.

Marcel Walker writes and draws his own self-published comic book called Hero Corps. You can read more about his work at http://www.marcelwalker.com/

Come join us at the CHUTZ-POW! Superheroes of the Holocaust Launch Party

on Thursday, August 14th at the ToonSeum!

Chutz-POW!: The Comic Book – Les Banos

The first story in the Chutz-POW! anthology is that of Les Banos. I don't want to rehash all of the details of the story here. That is what the comic book is for. Here's the first page, with art by Mark Zingarelli, to serve as an introduction and teaser.

Les's story was one of the most compelling and exciting stories I worked on. His adventures as a double agent would fill a graphic novel. His life should be a movie, not only for what he accomplished during the Holocaust and World War II, but for the remarkable life he led after. There were so many parts of his life, so many anecdotes, that I had to cut for space.

One in particular stands out to me. I don't have the research in front of me any more, so I am reconstructing this from memory. Some of the specifics are vague, but if there is ever a continuation of his story in any form, this is a tale that needs to be told.

Once, when Les was serving as an SS officer, he was in what appeared to be an abandoned house. I don't remember why, other than his duties took him to investigate this house. While there he heard sounds, human sounds, coming from a grand piano. He lifted the lid and found two young Jewish girls, sisters, hiding inside. They were scared, of course. Les smuggled them out of the city into the hands of his contacts, saving their lives.

This is a gripping tale in itself, but it is what happened much later in his life that gives it resonance.

In Pittsburgh, years and years after the War, Les was attending an event where Holocaust survivors were telling their stories. As he listened to one woman speaker, she recounted how she and her sister had hidden inside of a piano and been rescued. Les met the woman after the event. The sheer randomness and synchronicity of this encounter is magic.

I wanted all of the stories in this collection to have a different structure and a different narrative feel. Les's story was the first one I worked on, and given the nature of the research I had done I ended up approaching it more as a documentary than as a story-like narrative.

I was blessed to have this story drawn by Mark Zingarelli. Mark is a freelance artist who stays really busy. I knew that he was working on an original graphic novel with writer Joyce Brabner (the widow of Harvey Pekar of American Splendor fame). I assumed he would simply not have the time to work on the Chutz-POW! project, but I had to call and ask. To my delight he said yes. When I was telling him about the different stories I was writing it was Les Banos that Mark wanted to work on.

Mark has been a friend for several years now, but his career in comics pre-dates my affiliation with him by many years. In addition to his recent graphic novel work and freelance illustration Mark contributed art to American Splendor and Weirdo. He was also part of the original explosion of independent artists working at Fantagraphics in the early 1980s. He was part of a crowd that included Peter Bagge (Neat Stuff, Hate), Dan Clowes (Lloyd Llewellen, Eightball, Like a Velvet Glove Cast in Iron, Ghost World), and Robert Crumb (way too many things to list). During this time Mark produced a comic called Real Life.

Working with Mark was an education. I have a habit of overwriting. If you follow this blog regularly you already know this. There's a reason I'm more of a novelist than a short story writer. Though I have written for comics before it has been awhile. It's difficult for me to gauge how much room there actually is on the page for images and text. In this case the problem was compounded by the amount of detail in Les's story. The documentary style I had chosen was a little choppy and disconnected. The first draft I sent to Mark was much too wordy and overcrowded with information. 

Mark called me to talk about the script. He was gentle, but the bottom line was there was no way all of what I had written was going to fit in six pages. I deferred to Mark's expertise. He has far more experience laying out a story than I do. The final version that appears in the comic is due to Mark's editing of my script and playing with the layout of the pages as much as it is to my original draft. The story is stronger for this.

And if Mark and I ever get to work together again I promise to give him more of a comics narrative than the documentary style story he got this time around.

Les Banos passed away in 2008. Many people who had known him for years did not know of his experiences as a double agent. Apparently, like a lot of people, he simply didn't talk about it very much. In one of the documents I read in the research someone asked him in the 1990s why he had never told anyone about his time as a double agent. His response?

“I didn't think anybody would believe me!”

We believe you, Mr. Banos, and I feel privileged to be able to bring your story to the world.

Mark Zingarelli's new graphic novel with Joyce Brabner is called Second Avenue Caper: When Goodfellas, Divas, and Dealers Plotted Against the Plague. It's due from Hill and Wang (the graphic novel imprint of Farrar, Straus and Giroux), in November, 2014. You can see more of Mark's work at his Facebook page HERE or at his House of Zing Website HERE.

Come join us at the CHUTZ-POW! Superheroes of the Holocaust Launch Party

on Thursday, August 14th at the ToonSeum!

Chutz-POW!: The Comic Book

In June I blogged about my involvement in an ongoing project called Chutz-POW!: Real Superheroes of the Holocaust. You can read my blog post introducing the project HERE. I wrote another post about my research and experiences doing a piece of art based on the story of Sophie Scholl (HERE), and another about the whole museum exhibit portion of the project that premiered at the 3 Rivers Arts Festival (HERE).

This blog is the first of several where I will talk about the part of the project I had the most involvement with; The Chutz-POW! comic book.

The steering committee decided that it would be a good idea to produce an actual comic book in conjunction with this project. My experience as a writer and a comic book creator, as well as my background in research, made me the obvious choice to be the writer on the project. I also know a lot of the local comics artists and have good working relationships with them, which is essential in a project like this.

This is the cover for the comic. Artwork and
design by Marcel L. Walker. You can read
his process blog about this cover HERE.

The comic tells the stories of five local Pittsburgh Upstanders. From the beginning we knew that in spite of using the term “superhero” and the metaphor that represents we didn't want to present these stories as superhero tales. We never considered giving super powers to these real life people. Their stories are heroic enough. The goal was to be true to their actual histories.

The Holocaust is a really heavy topic and so much of the focus has been on the atrocities that were committed. While these atrocities should not be forgotten and need to be confronted, we wanted to focus on the aspects of this history that aren't talked about as often; the acts of heroism and selflessness, the spirit of those who did fight back, the tenacity and heart of those who had this experience. Early in this process someone said that “the act of survival was an act of heroism.” That was a guiding principle.

The five Upstanders we chose were also people who continued to serve as inspirations throughout the rest of their lives. They were educators and active in the community, sharing their stories in an effort to help the world understand. We make no claim that these people represent the most important or the only stories. Everyone who lived through the Holocaust has an important story. But for this first volume we chose five people.

Les Banos was a well-known Pittsburgh sports photographer who served as a double agent in the German SS. Moshe Baran was a partisan resistance fighter in Poland. His wife Malka was a survivor of the concentration camps. Dora Iwler escaped from the concentration camps, twice! Fritz Ottenheimer witnessed Kristallnacht as a boy, immigrated to America with his family and then returned to Germany as a member of the U.S. Army.

Les Banos, Malka Baran, Moshe Baran, Dora Iwler and Fritz Ottenheimer

I will talk about each of them in slightly more detail in individual blogs. I don't want to tell their entire stories here. I want you to read the comic.

I left the Holocaust Center one cold February morning with stacks of file folders containing information about each of these people. They had all been interviewed countless times and given first hand reports of their lives. There were newspaper articles and DVD documentaries. I was given a book called Flares of Memory, published locally containing the first person accounts of many Pittsburgh survivors. Both Les Banos and Fritz Ottenheimer had written books. It was a mountain of information to assimilate. The part of me that is a historian loved it.

My challenge as the writer of these stories was to find the moments in these lives that told a complete and meaningful narrative without doing damage to the totality of their experience. And, I need to do it in 4 to 8 pages.

No pressure.

I had a lot of information but much of it was out of context... various interviews and articles with no clear linear history. I spent a lot of time reading through the research, making notes, and constructing timelines. As I narrowed down the moments I wanted to use I began to look for the themes and ideas on which to structure the narrative. I wanted each story to have its own feel. Each artist had a different style, so I thought the stories should all be structured a little differently.

And even though I tried to do my best, the truth is there is a lot of information, a lot of great moments, left out. Given the constraints of page count I had no choice but to cut and condense large portions. These stories are snapshots, important moments, but not the whole story. I say in my writer's note in the book that each of these people deserve an entire graphic novel and it's absolutely true.

I approach writing comics from an artist's perspective. To structure the narrative I need to make my own thumbnails to go along with my script. It's how I figure out pacing and story beats. Unlike prose, comics exist in space, bounded by the page. This constraint helps determine the storytelling and reading experience. It helps me to visualize the final page in a rough stage before I ever type a line of description or narration.

The next step was to send the scripts to the artists. They all had valuable feedback. A comics page done in this fashion is a collaborative effort. Though I wrote my script based on my thumbnails I didn't show these to the artists. I didn't want to limit them by my vision of the final page. They are all professionals who are more experienced at laying out a comics page than I am. The information was in the script. As long as the story beats were respected they were free to play with the script in whatever way they felt best served the story. In each case there were places where ideas and panels were condensed or expanded. Layouts were not what I had thumbnailed, but still told the same story. One artist changed the overall story structure but managed to not only keep all of the details I had written but to enhance the way in which they were presented. In every case the artist's instincts were better than anything I had envisioned, yet maintained a fidelity to the story I had written.

Wherever possible I defaulted to the actual words of the people I wrote about. These are their stories and their words carry more weight than mine. I took my responsibility to them very seriously. There were edits to the final script... fact-checking, some flat-out mistakes on my part, instances where the character's memories didn't match the  historical record.

But in the end I am happy with the result. I believe the stories we told are good representations of their lives. I know I can never really do justice to the reality of their experience, given six pages or six hundred. These are glimpses into their history, a small window on a immense vista. My hope is that these stories will inspire the reader to learn more; about the Holocaust, about these people and others like them, and about their own potential to be heroes.

The release party for the comic will take place on August 14, 2014 at the Toonseum in downtown Pittsburgh. It's a block party with music, food and art. The creators, including myself will be in attendance. Here's the poster;

Come join us at the CHUTZ-POW! Superheroes of the Holocaust Launch Party

on Thursday, August 14th at the ToonSeum!

Chutz-POW! The Rest of the Exhibit

In addition to my drawing of Sophie Scholl, the Chutz-POW! exhibit at the 3 Rivers Arts Festival also features artwork from four other Pittsburgh cartoonists representing other Holocaust Upstanders. In addition to the artwork each panel features photos and a lengthy description of each of the people featured. I'm not going to reproduce the text here, more for the sake of brevity than anything else. Go see the exhibit, or if you don't have the opportunity and are interested in the stories of these Upstanders look them up. There are amazing stories here.

Art by Marcel Walker
http://www.marcelwalker.com/

The first panel pictured here is a reproduction of the cover of the comic book that will be released later this summer. This features stories about Pittsburgh Upstanders, most of whom are not featured in the Exhibit. I'll talk about that in more detail when the book is released.

Art by Mark Zingarelli
https://www.facebook.com/media/set/?set=a.58217367146.67779.58207207146

The one person who is featured in both the exhibit and the comic is Les Banos. Les's story is pretty unbelievable, and deserves a full graphic novel or movie instead of the six pages I tried to fit the info into. (That's true of all of these people, really). Les Banos is a famous Pittsburgh sports photographer. He was Jewish and during the Holocaust was part of the Hungarian Resistance. He was recruited by the Office of Strategic Services (the forerunner of the C.I.A.), and became an SS officer and served as a double agent! The artwork here is a preview of the upcoming comic. 

Mark Zingarelli is a native of Pittsburgh and a freelance cartoonist / illustrator for over 35 years. He has had art studios in San Diego, Seattle and now lives in Western Pennsylvania. His award winning illustration work and comics have been published internationally and he is currently finishing a graphic novel for Farrar Strauss & Giroux.

Art by Gary Morgan
http://www.gmorganart.com

The next panel is of the Bielski Brothers. The Bielski Partisan group led by Tuvia Bielski operating in the forests of Western Belorussia was one of the most renowned resistance groups against the Nazis in World War II. Together with his brothers, Zusya, Asael, and Aharon, Tuvia disrupted enemy lines and secured arms allowing his partisan movement to grow in numbers.

Gary Morgan is a freelance artist and illustrator. He went to college at I.U.P., and graduated with a B.F.A. in metals and drawing. His comics work can be seen in The Field at the Edge of the Woods.

Art by Marcel Walker
http://www.marcelwalker.com/

Irena Sendler used her position as a social worker to gain access to the Warsaw Ghetto and help smuggle children out of the horrible conditions and into a network of safe houses, churches, and other hiding places. She issued hundreds of false documents with forged signatures, giving the Jewish children temporary identities. Irena kept records of each child’s true identity in coded form and buried them in jars beneath an apple tree in a neighbor’s back yard, across the street from the German barracks.  It is estimated that these jars contained the names of 2,500 children. In 1943 her efforts were discovered and she was arrested, severely tortured, and sentenced to death by the Gestapo.  Even under these circumstances she refused to give the Germans any information.   While awaiting execution she was saved. Irena continued working under a false identity.

Marcel Lamont (M.L.) Walker is a Pittsburgh, Pennsylvania native. He graduated from the Art Institute of Pittsburgh, and from 1993 to 1999 was an art instructor at the Pittsburgh Center for the Arts. Today he is the Artist-in-Residence at Pittsburgh’s ToonSeum, The Museum of Cartoon Art, where he teaches workshops and has contributed artwork to their NORTH and OAKLAND anthology comic-books. In 2014, Walker was the portrait artist for scientists depicted in the nationally-touring exhibit COMIC-TANIUM!: THE SUPER MATERIALS OF THE SUPERHEROES. Currently, he is also the creator/writer/artist of the comic-book HERO CORP., INTERNATIONAL, a mash-up of the workaday worlds of superheroes and the machinations of corporate America.

Art by Loran J. Skinkis
http://www.skinkis.com/

The final panel is of Raoul Wallenberg. Wallenberg was recruited by the US War Refugee Board. Wallenberg’s task was to save as many Jews as he could in Hungary from the Nazi regime. He was given the status of a Swedish foreign diplomat, which allowed him issue thousands of Swedish Embassy stamped “protective passports” to Hungarian Jews. The fate of Raoul Wallenberg is unknown. He was last seen with Soviet officials under suspicion of espionage. Rumor has it that he died in a Soviet Prison.

Loran J. Skinkis is a full-time illustrator and graphic designer based in Pittsburgh, Pennsylvania. After attending Mt. Lebanon Senior High in 1989, Loran joined the United States Marine Corps Reserves. His unit was activated and sent overseas to Saudi Arabia during the Persian Gulf War (1991). After returning home, Loran went to school at the Art Institute of Pittsburgh. Loran has worked on such titles as Photocopy Comix Illustrated, The Electric Owl, Pastaman, Star & Stripes, Burgh-Man, The Pittsburgh Steel-Man and most recently The Field on the Edge of the Woods. 

Chutz-POW! My Sophie Scholl Exhibit Art

If you haven't read my previous post that serves as an introduction to this topic you might want to go back or this will be out of context.

When the Chutz-POW committee was discussing the list of Upstanders to include in the museum exhibit I found myself particularly fascinated by the story of Sophie Scholl and the White Rose. Even though my primary role was as writer of the comic book (Sophie's story does not appear in it), I do draw comics occasionally and have a couple of professional credits to my name. I decided I wanted to draw Sophie's page for the exhibit.

Sophie's story, in brief, is heroic and horrific.

Sophie and her brother Hans were born in Germany and raised Lutheran. They were teens during the rise of the Nazi party and witnessed the growing abuses of the regime (this is an incredibly abridged version of what took place). They were increasingly appalled at the direction Germany was headed. They, along with a number of friends, formed a secret society called The White Rose and began a movement of passive resistance. They wrote exposes' and essays that were overtly critical of the Nazis. They printed these as flyers and discretely distributed them.

They were eventually caught and arrested.

Sophie was beheaded by guillotine on February 22, 1943 at the age of 22. Her final words were, "How can we expect righteousness to prevail when there is hardly anyone willing to give himself up individually to a righteous cause. Such a fine, sunny day, and I have to go, but what does my death matter, if through us, thousands of people are awakened and stirred to action?”

The last flyer by The White Rose was smuggled out of Germany and later dropped in the thousands all over Germany from Allied airplanes.

This story really touched me, and when I started looking for more information on Sophie I found lots of photos of her online. These kind of blew me away. She looks absolutely contemporary in most of these. Young with a funky hairstyle, happy and full of life. She could be one of the students in my class at Chatham this spring. One of my customers at the comics store. Someone I see when I go out to shows. The same age range as my goddaughter.

Do a Google image search for more.

So I drew Sophie Scholl. My style leans more toward the stylized and iconic than it does toward realism. I like to think of myself as influenced by Jaime Hernandez (of Love & Rockets fame), and Dan DeCarlo and Harry Lucey, famous Archie Comics artists. I'm nowhere near as good as any of these, but it's what I aim for. The black and white line work is an abstraction and the goal was to turn Sophie into a comic book character in my style while still being able to recognize her. Parts of my composition used very specific photo reference.

The exhibit is in color (the comic will be in black and white). I think of myself as primarily an inker when it comes to my comics work, and that's where most of my actual professional comics experience is. I love working with a bottle of ink and a brush. My own pencils are very loose because I prefer working out the details directly in the ink. As a result of this I don't work in color very often and admit to being a little intimidated by the prospect. My style lends itself to more traditional flat coloring than to heavily rendered or shaded colors, so that's the direction I went with this. I'm happy with the results.

Seeing the reproduction of my art in context at the 3 Rivers Arts Festival yesterday was really rewarding. The drawing was accompanied by text pieces telling Sophie's story. Two of the other members of the Chutz-POW! committee were there when Marcel Walker (my friend and one of the artists on the project) and I arrived. They introduced us to the people who were there and we received a spontaneous round of applause. I can't tell you how gratifying it is to see something that I have worked this long and hard at finally out where we can share it with the world.

The following are photos of my Sophie piece in context at the exhibit. My next blog will detail some of the other artists and Upstanders involved with the project.

What follows is the description of Sophie's story that was sent to me by the Holocaust Center.

“Freedom.”

Word found on a scrap of paper left behind in the cell of White rose resistance leader Sophie Scholl on the day of her execution;

February 22, 1943

Sophie Scholl was born in Forchtenberg Germany on May 9, 1921. Sophie had loving parents and enjoyed spending her time outside and learning. She even had an interest in art and theology. Soon she began to question the Anti-Jewish doctrine of the Nazi Party and grew increasingly frustrated along with her brother, Hans, about the direction in which Germany was headed.

In 1942 Sophie Scholl, Hans Scholl, Christopher Probst, Willi Graf, Alexander Schmorell, and their Professor Kurt Huber formed the resistance movement called “The White Rose”.

The White Rose was a German resistance group who spoke out against the Nazi regime’s mass atrocities and crimes to humanity.

Horrified of what their nation became, Sophie and the members of the White Rose wrote and distributed leaflets urging Germans to oppose Hitler and the Nazi Party.

After the defeat at Stalingrad in January 1943, Sophie, and Hans, distributed Anti-Nazi leaflets in the hallways of the University of Munich urging the students to rebel. However, the university janitor recognized Sophie and Hans and turned them in to the Gestapo, the German Secret State Police. Soon after their arrest, the Gestapo found the other members of the White Rose.

The members of the White Rose were tried by the Volksgerichtshof (People’s Court), overseen by Roland Freisler, a Nazi judge and the State Secretary of the Reich. Sophie Scholl and the members of the White Rose were sentenced to death by beheading. However, they remained defiant and proud. The words “To stand defiant before overwhelming power” were found on Hans’ prison cell wall and before execution he shouted, “Long Live Freedom!”

Sophie Scholl along with her brother and the other members of the White Rose stood up for their country and their people even before certain death. Their last leaflet was smuggled out of the country and scattered over Germany by Allied plans.

“Fight Against the Party!”

The day of reckoning has come, the reckoning of German youth with the most repellent tyranny our nation has ever seen...

For us there is only one slogan: Fight against the Party! Get out of the party hierarchy, which wants to keep us silent!

The German name will be dishonoured forever if German youth does not rise up, to revenge and atone at once, to destroy their tormentors and build up a new spiritual Europe. Students! The German nation looks to us!

Translation: Lucy Burns

Contents copyright 2014 The Pittsburgh Holocaust Center.