Oustanding Technical Scenes
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There are many scenes in Bernice Eisenstein’s memoir that are technically outstanding.
Technically outstanding scene 1
There are two scenes that work together to be technically outstanding. The very first chapter entitled The Ring (pp. 10 -17), and the very last chapter entitled A naming (pp. 180 – 187)
In the first chapter, Eisenstein introduces a situation in which she is sorting her father’s clothes sometime after his funeral (2006, p. 11). Eisenstein is later accompanied by her mother and from there the basis for many aspects of the memoir are established (2006, p.10-17). Think of the first chapter as solid ground, a pools ledge. From this first chapter we dive down into Eisenstein’s fluid memories (which are not in chronological order) and, as she suggests, more organic in structure (Eisenstein, personal communication, 2011). Then in the last chapter she speaks of her father just before his death. She eventually reintroduces us to solid ground with the situation of her son’s Bris (2006, pp. 180-187). Think of the last chapter as climbing back onto the same ledge you dove off from and taking a step forward. In her review, Morris suggests that Eisenstein's memoir (illustration and text) is "dualistic" in nature (Holocaust anonymous, 2009). This is quite true, but Eisenstein's memoir also is cyclic nature. With these scenes Eisenstein comes back around beautifully and connects two events (the death of her father and the birth of her son) through the cycle of life which contains both sorrow and joy . Establishing a situation in these chapters really framed the rest of the memoir quite well.
Technically outstanding scene 2
One technically outstanding scene occurs in the chapter entitled The glass cabinet (pp. 146-155).
This chapter goes into the significance of objects and the memories they hold. Eisenstein talks about how her father had a hard time talking about his past and how the one porcelain figure had allowed him to do so (2006, pp. 145-155). What makes this scene technically outstanding is how well text and image work together to put fourth an idea/feeling. Without the image the text would not be as successful and vice versa. For example, Eisenstein states:
...he stepped back to a place that had been transformed, to a time when he and my mother and those who were there with them began to live. He had given me a compass with which I could find my way to where he wanted his own memories to begin (2006, p.154).
Alone, that quote gives a vague reference to what time the father actually wants his memories to begin. Then there is the image (post example). The image alone is a nice family portrait, but without context it is not as powerful. It is when you pair text and image that the meaning can be found: the father wanted his memories to begin with his new family in Canada (2006, p.154-155, please refer to Fig. 22 below). In this way Eisenstein guides the reader to interpret what she is saying on multiple levels, as well as what she is not saying directly.
Fig. 22. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (pp. 154-154), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd. (sorry the quality of this scan is a bit blurry)
Eisenstein, B. (2006) I was a child of Holocaust survivors. Toronto, On: Mclelland & Stewart Ltd.
Morris, J. (2009). Holocaust anonymous. [Review of the book I was a child of Holocaust survivors]. Canadian Literature #200 (original publication). Retrieved from http://canlit.ca/reviews/holocaust_anonymous
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