Now that the shipping eternal between reality and fiction, is exhibited with more force, when the stories based on actual events, populate the shelves of bookstores and the lists of sales and succeed in the prestigious awards, a new controversy comes to the literature. Is there any red line in the novels that feed of the story? What happens if the facts narrated are terrible moments of the recent past? What you can invent when talking about actual protagonists of the Holocaust? A series of tweets from the Memorial of Auschwitz recommend the reading of the novel, the tattoo artist of Auschwitz (Heather Morris, Espasa) for those who would like to understand the reality of the death camp has sparked a flood of reactions. THE COUNTRY has spoken with historians, experts and writers for trying to contextualize the dispute.MORE INFORMATION what Memory or story? Journalism, literature and the liar
“Jorge Semprún account in writing or the life of the debate that originated among some deported from Buchenwald on how to tell what lived. On one side were those who thought that you had to tell it to palo seco, with all sobriety, without adding a single comma. On the other hand were those who, like himself, felt that he had to resort to the arts, the literary creation, because one's own memory is not counting made –for this are preferably the historians– but to unravel the meaning of an experience and relay it to the extent possible”, illustrates the historian Reyes Mate.
The tattooist of Auschwitz brings to fiction the life of Ludovit Eisenberg –known then as Lale Sokolov– and Gita Furman, two Slovak jews who lived in the field an overwhelming story of love and survival. For its elaboration, Morris told with the testimonies of Eisenberg. It should be noted that from the Memorial of Auschwitz is not analyzed the novel from the literary point of view. “The number of different errors that there are in the book, not only to narrate facts but in the description of the reality of Auschwitz, sometimes creating more confusion than understanding. The interpretation of the lives of these two prisoners blurs the authenticity of their experiences,” says Pawel Sawicki, a press officer and educator in the field. “Your connection with the authentic story is very weak,” says Wanda Witek-Malicka, a researcher at the Memorial of Auschwitz. “The book should be seen only as an impression about what there occurred, almost empty of documentary value,” he adds, before lamenting that in his judgment, is a missed opportunity with a book that has become a best seller worldwide.
Due to the number of factual errors "The Tattooist of Auschwitz" cannot be recommended as a valuable position for those who wish to understand the history of the camp. The book is an impression about Auschwitz inspired by authentic events, almost without any value as a document. https://t.co/76j88CJyDF— Auschwitz Memorial (@AuschwitzMuseum) November 20, 2018
however, it is told in a novel has to be plausible, not true. Perhaps the Milanobet problem then lies in the motto, “based on an unforgettable real story”, included on the front cover of the book. “Based on real events is the label most idiot in the history of mankind. All the literature from Homer until today is based on actual events. The pure fiction does not exist, is an invention of those who do not know what is fiction,” says the writer Javier Cercas, who, in the novel “non-fiction” The imposter delves into the figure of Enric Marco, a man who posed for years by a survivor of the camp of flossenbürg kzs. “To judge how it's mixed I have to read the novel because it all depends on how you do it. Shakespeare did of wonder”, concludes the author of Anatomy of a moment. “There is a lie when, as in the case of Framework, offers a biography that is invented. But the literary creation, as Semprún, it is true. Let's not forget what Aristotle says in his Poetics: 'There is more truth in poetry than in history", three of a kind Mate.
“No one has said that everything she puts out as well, as any story based on actual events. It is an approach to emotional, not factual,” argues Elena Ramirez, director of fiction international Planet, publishers of the book in Spanish. “The spine on which it is based is a testimony of what reminds you of the person. Heather has done very well with what you have to do and the Memorial of Auschwitz, too,” he finishes.
The implications of the Holocaust and its intense representation in the culture includes countless nuances, grey areas. “Fiction is Schindler's list and yet it has helped me to understand the facts and their meaning. Artistic creation is Shoah, by Claude Lanzmann, the film is more important about Auschwitz,” says Matt.
The problem is still open and it may be that, as I said Oscar Wilde, the truth is only a matter of style. “Some of the visitors of Auschwitz believe that what they read is truth. That's why this is a different case to the pure fiction based on the Holocaust. In these cases there should be more responsibility in the thorough investigation of the facts,” notes Sawicki. Can you give the fiction a wrong idea of a fact? “If you have a story that is invented as it really happened, scam to the reader. But it can contribute mightily to the knowledge of the facts if it shows in any way its meaning,” stresses Matt. The debate is still open until you reach the next level of success-based on real events.