Night

Unknown

Also by Elie Wiesel DAWN DAY (previously THE ACCIDENT) THE TOWN BEYOND THE WALL THE GATES OF THE FOREST THE JEWS OF SILENCE LEGENDS OF OUR TIME A BEGGAR IN JERUSALEM ONE GENERATION AFTER SOULS ON FIRE THE OATH ANI MAAMIN (cantata) ZALMEN, OR THE MADNESS OF GOD (play) MESSENGERS OF GOD A JEW TODAY FOUR HASIDIC MASTERS THE TRIAL OF GOD (play) THE TESTAMENT FIVE BIBLICAL PORTRAITS SOMEWHERE A MASTER THE GOLEM (illustrated by Mark Podwal) THE FIFTH SON AGAINST SILENCE (edited by Irving Abrahamson) THE OSLO ADDRESS TWILIGHT THE SIX DAYS OF DESTRUCTION (with Albert Friedlander) A JOURNEY INTO FAITH (conversations with John Cardinal O'Connor) A SONG FOR HOPE (cantata) FROM THE KINGDOM OF MEMORY SAGES AND DREAMERS THE FORGOTTEN A PASSOVER HAGGADAH (illustrated by Mark Podwal) ALL RIVERS RUN TO THE SEA MEMOIR IN TWO VOICES (with François Mitterand) KING SOLOMON AND HIS MAGIC RING (illustrated by Mark Podwal) AND THE SEA IS NEVER FULL THE JUDGES CONVERSATIONS WITH ELIE WIESEL (with Richard D. Heffner) WISE MEN AND THEIR TALES THE TIME OF THE UPROOTED

Night

ELIE WIESEL TRANSLATED FROM THE FRENCH BY MARION WIESEL HILL AND WANG A DIVISION OF FARRAR, STRAUS AND GIROUX NEW YORK

Hill and Wang A division of Farrar, Straus and Giroux 19 Union Square West, New York 10003 Copyright © 1958 by Les Editions de Minuit Translation copyright © 2006 by Marion Wiesel Preface to the New Translation copyright © 2006 by Elie Wiesel Nobel Peace Prize Acceptance Speech copyright © 1986 by the Nobel Foundation All rights reserved Distributed in Canada by Douglas & McIntyre Ltd. Printed in the United States of America Published simultaneously in hardcover and paperback by Hill and Wang First edition of this translation, 2006 Library of Congress Control Number: 2005936797 Hardcover ISBN-13: 978-0-374-39997-9 Hardcover ISBN-10:0-374-39997-2 Paperback ISBN-13:9 78-0-3 74-50001-6 Paperback ISBN-10:0-374-50001-0 Designed by Abby Kagan www.fsgbooks.com 17 19 20 18 16

In memory of my parents and of my little sister, Tzipora E.W. This new translation in memory of my grandparents, Abba, Sarah and Nachman, who also vanished into that night M.W.

Preface to the New Translation by Elie Wiesel I F IN MY LIFETIME I WAS TO WRITE only one book, this would be the one. Just as the past lingers in the present, all my writ- ings after Night, including those that deal with biblical, Tal- mudic, or Hasidic themes, profoundly bear its stamp, and cannot be understood if one has not read this very first of my works. Why did I write it? Did I write it so as not to go mad or, on the contrary, to go mad in order to understand the nature of madness, the immense, terri- fying madness that had erupted in history and in the conscience of mankind? Was it to leave behind a legacy of words, of memories, to help prevent history from repeating itself? Or was it simply to preserve a record of the ordeal I endured as an adolescent, at an age when one's knowledge of death and evil should be limited to what one discovers in literature? There are those who tell me that I survived in order to write this text. I am not convinced. I don't know how I survived; I was weak, rather shy; I did nothing to save myself. A miracle? Cer- tainly not. If heaven could or would perform a miracle for me,

why not for others more deserving than myself? It was nothing more than chance. However, having survived, I needed to give some meaning to my survival. Was it to protect that meaning that I set to paper an experience in which nothing made any sense? In retrospect I must confess that I do not know, or no longer know, what I wanted to achieve with my words. I only know that without this testimony, my life as a writer—or my life, period— would not have become what it is: that of a witness who believes he has a moral obligation to try to prevent the enemy from enjoy- ing one last victory by allowing his crimes to be erased from human memory. For today, thanks to recently discovered documents, the evi- dence shows that in the early days of their accession to power, the Nazis in Germany set out to build a society in which there simply would be no room for Jews. Toward the end of their reign, their goal changed: they decided to leave behind a world in ruins in which Jews would seem never to have existed. That is why every- where in Russia, in the Ukraine, and in Lithuania, the Einsatz- gruppen carried out the Final Solution by turning their machine guns on more than a million Jews, men, women, and children, and throwing them into huge mass graves, dug just moments before by the victims themselves. Special units would then disinter the corpses and burn them. Thus, for the first time in history, Jews were not only killed twice but denied burial in a cemetery. It is obvious that the war which Hitler and his accomplices waged was a war not only against Jewish men, women, and chil- dren, but also against Jewish religion, Jewish culture, Jewish tra- dition, therefore Jewish memory. CONVINCED THAT THIS PERIOD in history would be judged one day, I knew that I must bear witness. I also knew that, while

I had many things to say, I did not have the words to say them. Painfully aware of my limitations, I watched helplessly as lan- guage became an obstacle. It became clear that it would be neces- sary to invent a new language. But how was one to rehabilitate and transform words betrayed and perverted by the enemy? Hunger—thirst—fear—transport—selection—fire—chimney: these words all have intrinsic meaning, but in those times, they meant something else. Writing in my mother tongue—at that point close to extinction—I would pause at every sentence, and start over and over again. I would conjure up other verbs, other images, other silent cries. It still was not right. But what exactly was “it”? “It” was something elusive, darkly shrouded for fear of being usurped, profaned. All the dictionary had to offer seemed meager, pale, lifeless. Was there a way to describe the last jour- ney in sealed cattle cars, the last voyage toward the unknown? Or the discovery of a demented and glacial universe where to be in- human was human, where disciplined, educated men in uniform came to kill, and innocent children and weary old men came to die? Or the countless separations on a single fiery night, the tear- ing apart of entire families, entire communities? Or, incredibly, the vanishing of a beautiful, well-behaved little Jewish girl with golden hair and a sad smile, murdered with her mother the very night of their arrival? How was one to speak of them without trembling and a heart broken for all eternity? Deep down, the witness knew then, as he does now, that his testimony would not be received. After all, it deals with an event that sprang from the darkest zone of man. Only those who experienced Auschwitz know what it was. Others will never know. But would they at least understand? Could men and women who consider it normal to assist the weak, to heal the sick, to protect small children, and to respect

the wisdom of their elders understand what happened there? Would they be able to comprehend how, within that cursed uni- verse, the masters tortured the weak and massacred the children, the sick, and the old? And yet, having lived through this experience, one could not keep silent no matter how difficult, if not impossible, it was to speak. And so I persevered. And trusted the silence that envelops and transcends words. Knowing all the while that any one of the fields of ashes in Birkenau carries more weight than all the testi- monies about Birkenau. For, despite all my attempts to articulate the unspeakable, “it” is still not right. Is that why my manuscript—written in Yiddish as “And the World Remained Silent” and translated first into French, then into English—was rejected by every major publisher, French and American, despite the tireless efforts of the great Catholic French writer and Nobel laureate François Mauriac? After months and months of personal visits, letters, and telephone calls, he finally succeeded in getting it into print. Though I made numerous cuts, the original Yiddish version still was long. Jérôme Lindon, the legendary head of the small but prestigious Éditions de Minuit, edited and further cut the French version. I accepted his decision because I worried that some things might be superfluous. Substance alone mattered. I was more afraid of having said too much than too little. Example: in the Yiddish version, the narrative opens with these cynical musings: In the beginning there was faith—which is childish; trust—which is vain; and illusion—which is dangerous. We believed in God, trusted in man, and lived with the illu-

sion that every one of us has been entrusted with a sacred spark from the Shekhinah's flame; that every one of us carries in his eyes and in his soul a reflection of God's image. That was the source if not the cause of all our ordeals. Other passages from the original Yiddish text had more on the death of my father and on the Liberation. Why not include those in this new translation? Too personal, too private, perhaps; they need to remain between the lines. And yet… I remember that night, the most horrendous of my life: …Eliezer, my son, come here… I want to tell you something…Only to you… Come, don't leave m e alone…Eliezer…" I heard his voice, grasped the meaning of his words and the tragic dimension of the moment, yet I did not move. It had been his last wish to have me next to him in his agony, at the moment when his soul was tearing itself from his lacerated body—yet I did not let him have his wish. I was afraid. Afraid of the blows. That was why I remained deaf to his cries. Instead of sacrificing my miserable life and rushing to his side, taking his hand, reassuring him, showing him that he was not abandoned, that I was near him, that I felt his sorrow, instead of all that, I remained flat on my back, asking God to make my father stop calling my name, to make him stop crying. So afraid was I to incur the wrath of the SS. In fact, my father was no longer conscious. Yet his plaintive, harrowing voice went on piercing the si- lence and calling me, nobody but me.

“Well?” The SS had flown into a rage and was striking my father on the head: “Be quiet, old man! Be quiet!” My father no longer felt the club's blows; I did. And yet I did not react. I let the SS beat my father, I left him alone in the clutches of death. Worse: I was angry with him for having been noisy, for having cried, for provoking the wrath of the SS. “Eliezer! Eliezer! Come, don't leave me alone…” His voice had reached me from so far away, from so close. But I had not moved. I shall never forgive myself. Nor shall I ever forgive the world for having pushed me against the wall, for having turned me into a stranger, for having awakened in me the basest, most primitive instincts. His last word had been my name. A summons. And I had not responded. In the Yiddish version, the narrative does not end with the im- age in the mirror, but with a gloomy meditation on the present: And now, scarcely ten years after Buchenwald, I realize that the world forgets quickly. Today, Germany is a sovereign state. The German Army has been resuscitated. Use Koch, the notorious sadistic monster of Buchenwald, was allowed to have children and live happily ever after…War criminals stroll through the streets of Hamburg and Munich. The past seems to have been erased, relegated to oblivion. Today, there are anti-Semites in Germany, France, and even the United States who tell the world that the “story” of six mil- lion assassinated Jews is nothing but a hoax, and many people, not knowing any better, may well believe them, if not today then tomorrow or the day after… I am not so naive as to believe that this slim volume will

change the course of history or shake the conscience of the world. Books no longer have the power they once did. Those who kept silent yesterday will remain silent tomorrow. THE READER would be entitled to ask: Why this new translation, since the earlier one has been around for forty-five years? If it is not faithful or not good enough, why did I wait so long to replace it with one better and closer to the original? In response, I would say only that back then, I was an un- known writer who was just getting started. My English was far from good. When my British publisher told me that he had found a translator, I was pleased. I later read the translation and it seemed all right. I never reread it. Since then, many of my other works have been translated by Marion, my wife, who knows my voice and how to transmit it better than anyone else. I am fortu- nate: when Farrar, Straus and Giroux asked her to prepare a new translation, she accepted. I am convinced that the readers will ap- preciate her work. In fact, as a result of her rigorous editing, I was able to correct and revise a number of important details. And so, as I reread this text written so long ago, I am glad that I did not wait any longer. And yet, I still wonder: Have I used the right words? I speak of my first night over there. The discovery of the reality inside the barbed wire. The warnings of a “veteran” inmate, counseling my father and myself to lie about our ages: my father was to make himself younger, and I older. The selection. The march toward the chimneys looming in the distance under an indifferent sky. The infants thrown into fiery ditches… I did not say that they were alive, but that was what I thought. But then I convinced myself: no, they were dead, otherwise I surely would have lost my mind. And yet fellow inmates also saw them; they

were alive when they were thrown into the flames. Historians, among them Telford Taylor, confirmed it. And yet somehow I did not lose my mind. BEFORE CONCLUDING this introduction, I believe it important to emphasize how strongly I feel that books, just like people, have a destiny. Some invite sorrow, others joy, some both. Earlier, I described the difficulties encountered by Night be- fore its publication in French, forty-seven years ago. Despite overwhelmingly favorable reviews, the book sold poorly. The sub- ject was considered morbid and interested no one. If a rabbi hap- pened to mention the book in his sermon, there were always people ready to complain that it was senseless to “burden our children with the tragedies of the Jewish past.” Since then, much has changed. Night has been received in ways that I never expected. Today, students in high schools and colleges in the United States and elsewhere read it as part of their curriculum. How to explain this phenomenon? First of all, there has been a powerful change in the public's attitude. In the fifties and sixties, adults born before or during World War II showed a careless and patronizing indifference toward what is so inade- quately called the Holocaust. That is no longer true. Back then, few publishers had the courage to publish books on that subject. Today, such works are on most book lists. The same is true in academia. Back then, few schools offered courses on the subject. Today, many do. And, strangely, those courses are particularly popular. The topic of Auschwitz has become part of mainstream culture. There are films, plays, novels, international conferences, exhibitions, annual ceremonies with the participation of the na-