Authors: Wendy Holden
Born Survivors (53 page)
I am indebted to Dita Valentová, the owner of Anka’s family’s former factory in Třebechovice pod Orebem who kindly showed me where Anka had grown up. In Slovakia, I am grateful to Eva
Richterová for the sensitive interview she conducted with Priska. Professor Frances Rapport generously gave me access to the transcripts of her health interviews with Anka Bergman at Swansea University, Wales. I would also like to thank producer Emily Davis and the BBC team who made the remarkable documentary
The Baby Born in a Concentration Camp
, which allowed me to see Anka in the flesh. The Elevation Youth Dance Company of Cambridge have done a great job in creating their ballet
Anka’s Story
, which Eva and I were fortunate enough to see at the Edinburgh Fringe – even though it reduced us both to tears.
I pay homage to the profound work of the USC Shoah Foundation and its archived testimonies, which have given voice to so many stories never before told. And to the courage of all those who recorded their memories in order for us to remember what some would have had us forget. I would especially like to acknowledge the help of curator Crispin Brooks, as well as that of Doug Ballman, Manager of External Relations Online Archive, and Georgiana Gomez, Access Supervisor, at The Institute for Visual History and Education University of Southern California. In the UK, I was helped by the capable Russell Burke, Information Consultant at the Bedford Library, Royal Holloway, University of London, who allowed me access to the Shoah Foundation’s files not on public view.
At the excellent National Holocaust Centre and Museum in Nottinghamshire, England, I am grateful to James Cox, Head of Public Affairs, but especially to fellow author Martin Winstone, who kindly read an early draft of the manuscript for me. At Yad Vashem, I would like to thank Maaty Frenkelzon from the Photo Archive for his help. At the Museu d’Història de Catalunya thanks too to Francesca Rosés for sharing information about their photographs.
At the University Press of Kentucky, I am obliged to Fred M. McCormick, Publicity and Rights Manager, for allowing me to use extracts from the diaries of Gonda Redlich. In the US, I am grateful to Dan O’Brien, editor of the 11th Armored Division website, and all the survivors and families of the ‘Thunder bolts’, many of
whom contacted me. Several fellow authors have been especially generous with their time and information, including Michael Hirsh and Ken Breck, who kindly opened up his book of contacts relating to the liberators.
Midwife extraordinaire Abby Davidson, Bsc (Hons), gave me invaluable information about the birth process as well as the medical requirements for malnourished mothers and tiny babies. I owe my friend Michael Bröllochs several beers for his invaluable German translations, and Anne Gray a bottle of Montrachet for the French translations.
I have been blessed with an extraordinary publishing team headed up in London by the brilliant Adam Strange at Little, Brown, whose enthusiasm for this project has never waned from the moment I read him the opening page and almost made him cry. I believe that we have created the legacy book he hoped for. Thanks too to the inimitable Ursula Mackenzie, Chief Executive at Little, Brown, with whom I have always worked so successfully, to desk editor Rhiannon Smith and copy editor Steve Gove. Last but not least, my thanks to publicity, picture research and marketing supremos Victoria Gilder, Kirsteen Astor, Zoe Hood, Linda Silverman and Charlie King for their encouragement and to Sophie Burden for the UK jacket.
The tireless rights department of Andy Hine, Kate Hibbert and Helena Doree held my hand through the delicate international negotiations and bidding processes. Helping me pick my way through the legal minefield of contracts were the unflinching duo of Sarah Burton and Kate Pool at The Society of Authors in London. I would like to thank all the foreign editors who so enthused about this book at the 2014 London Book Fair and since, and to all the international sub-agents and translators, art directors, sales and marketing professionals who have done such a great job in bringing this incredible story to light. I am especially grateful to my Polish publisher Sonia Draga, who met me in Auschwitz. At House of Books in the Netherlands my thanks to Joeska de Wijs; to
Anja Benzenhöfer at RBA Libros, Spain; Claudia Coccia at Edizioni Piemme SpA, Italy; Henrik Karlsson at Massolit Forlagsgruppe AB, Sweden; Kirsten Fasmer at Rosinante & Co., Denmark; Nikolay Naumenko at AST, Russia; Marcus Strecker and Mauro Palermo at Globo Editora; Frédérique Polet at Presses de la Cité, France; Antonín Kočí of Milada Fronta in the Czech Republic; Juhami Korolainen at Minerva, Finland; Gisela Lal Aghighi at Weltbild, Germany; Guilherme Pires at 20/20 Editoria, Portugal.
At Harper Collins US, my thanks to editor Claire Wachtel, herself the daughter of a Holocaust survivor, who has been ably assisted by associate editor Hannah Wood as well as executive director of publicity, Leslie Cohen, senior marketing manager, Penny Matras and US cover designer Milan Bozic. Also in the US, I am grateful to talented literary scout Mary Anne Thompson for getting the buzz going like nobody else can. Lucy Ferguson, my publishing champion and stalwart friend, assured me I was on the right track. Carly Cook is one of a handful of editors whose publishing skills I most admire, and a formidable woman of exceptional insight. I am so grateful that she agreed to cast her professional eye over the manuscript before I let others see it.
The intensity of this project has been kept in perspective throughout by my almost daily contact with my best friend Clare Arron. Her strength, courage and unfailing good humour in the face of adversity continue to inspire me. Together, we made it through another year.
Last but by no means least, I owe heartfelt thanks to Chris, my husband and best mate – the man with the jackpot laugh, big capable hands, and a bigger even more capable heart. As has happened countless times, he lost me for months on end and not only never complained, he immersed himself in the story, escorted and supported me, provided me with endless pots of tea and emergency gin and tonics. Sorry for the nightmares.
Wendy Holden
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Endpapers
Top Row L–R: Anka’s grave, Czech Republic © Wendy Holden; Memorial to the ashes of the dead scattered in the river at Terezín © Wendy Holden; Bernd’s name on the wall of the Pinkas Synagogue in Prague © Eva Clarke; Bernd Nathan © Eva Clarke; Priska’s husband, the journalist and author Tibor Löwenbein © Hana Berger Moran; The gas chamber at Auschwitz I © Wendy Holden.
Second Row L–R: A yellow star of David owned by Rachel’s sister Sala © Wendy Holden; Rachel’s husband Monik Friedman © Mark Olsky; Anka’s mother Ida © Eva Clarke; The memorial to the dead of KZ Freiberg © Wendy Holden; The Czechoslovak memorial and gates at Mauthausen where Eva was born © Wendy Holden; Anka’s husband Bernd with his mother Selma © Eva Clarke.
Third Row L–R: Anka’s sister Zdena and her husband Herbert Isidor © Eva Clarke; Memorial to the dead from the train in Horní Bříza cemetery © Wendy Holden; Emanuel Rona, Hana’s grandfather © Hana Berger Moran; Fajga Abramczyk, Rachel’s mother © Mark Olsky; Monik Abramczyk, Rachel’s brother who died at Chełmno © Mark Olsky; Rachel’s grave in Nashville, Tennessee, USA © Wendy Holden.
Bottom Row L–R: Paula Ronová, Priska’s mother © Hana Berger Moran; The gas chamber at Mauthausen © KZ-Memorial Mauthausen; Family grave where Priska’s ashes are interred, Bratislava © Wendy Holden; Anka’s sister Ruzena & her son Peter © Eva Clarke; The Stairway of Death at Mauthausen quarry © Wendy Holden; Shaiah Abramcyzk, Rachel’s father © Michael Olsky.