Izvleček
V 21. stoletju beseda holokavst ni velikokrat »poguglana«, bi rekli srednješolci, a njim vzbudi grozo, ko o tem preberejo v knjigah, se pogovarjajo z učiteljem in zapišejo spomine svojih sorodnikov ali pa si kraj sami ogledajo. Velikokrat povedo, da so dejstva kruta, in ne morejo razumeti, kako so jih nekateri ljudje uresničili. Ali kot je rekel Lojze Krakar v spremni besedi dokumentarnega dela Od tod so bežale še ptice: »Fantazija ponorelih nacistov si je namreč v koncentracijskih taboriščih izmislila takšne reči, da je proti njej ne samo moja domišljija, marveč celo domišljija starega Danteja naravnost nebogljena.« (Krakar in Kumar, 1962, str. 6) In kot bi dodale interniranke − Elza Kumar Mavrič, da o tem morajo govoriti, čeprav so najprej molčale, Sonja Vrščaj, ki vedno citira Krakarjeve verze v pesmi Auschwitz, da se je tu »smrt utrudila do smrti«, ali že pokojna Bogdana Šimac Rakar, »umazanke smo bile, saj smo imele gvantarske uši«; lezle so po obleki in po vtetovirani številki na roki, o kateri je verjela, da jo bo lahko sprala pod vodo. Ob vsem tem srednješolci spoznajo pomen besed imeti brazgotine v dušah, saj je kruta preteklost trpečim pokazala, kaj pomeni biti oropan človeškosti.
Abstract
The Holocaust – Scars on the Souls of Humaneness
In the 21st century, the word holocaust is not very often ‘googled’, as secondary school students would say, but they are shocked when they read about it in books, talk about it with their teacher, write down the memories of their relatives or visit the place themselves. Frequently, they would express that what happened was cruel and that they cannot understand how some people would allow that to happen. Or, in the words of Lojze Krakar in the preface of his book Od tod so bežale še ptice: “The imagination of the Nazi madmen in concentration camps was such that not only mine but even Dante’s imagination is downright destitute.” (Krakar and Kumar, 1962, p. 6) To this, three interned women would add that they must talk about it even though, at first, they were silent (Elza Kumar Mavrič), that “death was dead tired” there (Sonja Vrščaj, quoting Krakar’s words in the poem Auschwitz) and that they “were dirty because of the lice” in their clothes and on the number tattooed on her hand, which she thought she would be able to wash with water (Bogdana Šimac Rakar, now deceased). In addition, secondary school students learned the meaning of the phrase scars on the soul, reflecting how the cruelty of the past showed those suffering what is means to be robbed of humaneness.