Auschwitz-Geschichten 2: Block 24 (The Dolls House)

Block 24 - just go through the big iron gates that read Arbeit Macht Frei and it's the first building on your left - was the Auschwitz brothel, commonly referred to as a Dolls House. 

 

It was one of several such institutions established by the Nazis within their network of camps in order to reward and incentivise prisoners and, Himmler hoped, reorientate the sexuality of those wearing pink triangles [1].

 

The (non-Jewish) women obliged to work in these brothels came mainly from Ravensbrück, although Auschwitz recruited sex slaves from among its own inmate population [2]. Usually aged in their 20s, the women had sex with an average of six or seven men every evening between 8 and 10pm. They also had to work on Sunday afternoons. Some of the women underwent forced sterilization; those who didn't and became pregnant were forced to have abortions.  

 

The (non-Jewish) male prisoners had to pay two Reichsmarks for a fifteen-minute session with a girl who was chosen for them. They were first examined to ensure they were (relatively) clean and healthy and were instructed that only vaginal intercourse in the missionary position was permitted (the doors of the girls' rooms had peepholes so that SS guards could keep an eye on proceedings and ensure there were no perverse or violent acts committed).  

 

As might be imagined, there was a fairly high turnover of women, who were fucked until either too exhausted or too ill to continue, at which point their services - and sometimes their lives - were terminated [3].

 

Despite this, there were other women desperate to take their place, as they at least got to have a small room of their own within the brothel, wear clean clothes, and be given additional food from the SS kitchen. They were even given rudimentary medical care. Naturally, this caused anger and resentment amongst other female inmates, but it did make surviving the camp significantly easier - and survival was ultimately the name of the game. 

After the War, the women rarely spoke of their experiences and they were not awarded any compensation - indeed, their existence was scarcely even acknowledged [4].

 

 

Notes

 

[1] Himmler conceived the idea of establishing concentration camp brothels in October 1941. The first Dolls House was set up a year later, at Mauthausen concentration camp in Austria. Ultimately, the Lagerbordell did not produce any noticeable increase in prisoner productivity levels and I very much doubt they provided an effective form of gay conversion therapy. What they did do was further demonstrate the depth of Nazi corruption and depravity.   

[2] It is worth noting that some of the women had previously worked as prostitutes; indeed, it was this anti-social activity that had got them arrested and put in the camps in the first place. The SS reasoned that it would help with the establishment of their own brothels if they recruited professionals at least to begin with. Of course, the fact that some of the women had already been involved in the sex industry doesn't in any way mitigate the cynical cruelty of Nazi sexual exploitation. 

[3] After finishing their time in the brothels, some of the women were made camp functionaries and, according to recent research, those who withstood the hardship of brothel life did have an increased chance of escaping death in the camps. Indeed, almost all the women in forced prostitution survived. 

      Those interested in knowing more on this topic (and who read German) should see Robert Sommer, Das KZ-Bordell: Sexuelle Zwangsarbeit in nationalsozialistischen Konzentrationslagern (Schöningh Verlag, 2009). A review of the book, by Thomas Kühne, can be found in Central European History Vol. 45, No. 3 (September 2012), pp. 593-595. Click here to read on JSTOR.  

[4] There are some notable exceptions to this silence, first and foremost among them the French documentary Nuit et brouillard (dir. Alain Resnais, 1956), which acknowledged the existence of concentration camp brothels based on interviews with survivors. 

      Mention might also be made of The House of Dolls (1953), a novella by the Jewish writer (and former Auschwitz inmate) Ka-Tsetnik 135633 (Yehiel De-Nur), which concerns the women who were kept for the sexual pleasure of German soldiers during World War II and known as the 'Joy Division' [Freudenabteilung]. 

    Written in Hebrew, De-Nur's work tends to blur the line between fact and fiction and has been described as pornographic by some critics, who see it as paving the way for later Nazi-themed sexploitation movies such as Love Camp 7 (dir. Lee Frost, 1969) and Ilsa, She-Wolf of the SS, (dir. Don Edmonds, 1975). 

 

 

To read other tales from Auschwitz, click here and here.   

 

 

Kinderpost

Frank Meisler: Kindertransport - The Arrival (2006)

Photo by Stephen Alexander (2019)

I. Opening Remarks

Kindertransport - The Arrival is an outdoor bronze memorial by the Israeli architect and sculptor Frank Meisler, who was himself evacuated from the Free City of Danzig as part of the Kindertransport programme, travelling with a small group of other children to safety in England (his parents, arrested three days after his departure, were eventually murdered at Auschwitz).   

Commisioned by World Jewish Relief and the Association of Jewish Refugees (AJR), the work was installed on the forecourt of Liverpool Street Station in 2006 and commemorates the 10,000 Jewish children who escaped Nazi persecution and arrived in London during 1938-39.

II. Nazi Pigeons

Pigeons, of course, don't care about any of this; they'll shit on anyone's history. 

It would be mistaken, however, to assume the bird in the above picture is displaying an avian form of anti-Semitism - indeed, the pigeon (or dove) has an important role within Jewish religious mythology and is usually regarded as a symbol of hope (think of Noah and his Ark). The pigeon was also an acceptable sacrifice to God for those who couldn't afford a more expensive offering. 

The Hellenistic Jewish philosopher Philo of Alexandria may have found the birds a little overly bold and impudent, but, other than that, there's no enmity between them and the children of Israel.    

Having said that, it's true that the Nazis were also fond of pigeons - Heinrich Himmler was not only Reichsführer of the SS but also President of the German National Pigeon Society - and many trained birds were drafted into the Nazi war effort.

Indeed, so concerned were British secret services about the airborne threat posed by Nazi pigeons, that they became the subject of covert operations, with scores of pigeon lofts targeted for destruction in occupied Europe. MI5 even had its own trained force of falcons ready to intercept any Nazi pigeons that strayed into British airspace; they would patrol over the Scilly Isles and the Cornish coast for two hours at a time.

It's possible, therefore, that the pigeon pictured befouling the Jewish memorial is descended from a Nazitaube - though I would have thought this extremely unlikely and not something to be overly worried about; indeed, for me, of more concern, is the ominously glowing presence of the McDonald's logo in the background ...


III. Golden Arches

Instantly recognisable wherever you travel in the world, McDonald's Golden Arches probably shouldn't fill one with a similar sense of horror as that of a Nazi swastika - the stylised letter 'M' doesn't signify mass murder and malevolence - but, for some reason, it does.

Partly, that's due to the fact that even as I gobble down my Sausage and Egg McMuffin, I'm conscious of the true cost and devastating consequences of such deliciousness; for the natural environment and animal welfare, for example. Corporate capitalism isn't simply fascism with a smiley face, but neither is it the unequivocal force for good that its proponents like to claim and California über alles is just as troubling (in some respects) as the prospect of Deutschland über alles.

And partly, it's due to the influence of Jake and Dino Chapman upon my imagination. For everytime I see the Golden Arches, I can't help recalling their post-apocalyptic Nazi-McDonald's hellscapes (which is distracting, to say the least, when trying to reflect upon Meisler's work - even more so than the presence of a pigeon). 

A Character Study from The Plumed Serpent: Cipriano (First Man of Huitzilopochtli)

General Joaquín Amaro (1889-1952)

Mexican revolutionary and military reformer

According to an explanatory note in the Cambridge edition of The Plumed Serpent, Lawrence probably based the character of General Viedma - or Don Cipriano - on several real-life figures from the time, including Emiliano Zapata and Joaquín Amaro.

Like the latter, for example, Cipriano was an officer in the Mexican army, of native Indian origin (Zapotec), who possessed a real talent not only for military strategy but also institutional reform. Unlike Amaro, however, Cipriano also had "a little black beard like an impériale" and was fluent in English (having been educated in London and Oxford), even if the language sounded "a little stiff on his soft tongue" [21].

Lawrence being Lawrence - that is to say, a racial fetishist with a particular penchant for dark-skinned, dark-eyed foreign men who still have something of the goat-footed god Pan about them - he's very keen to emphasise Cipriano's ethnicity and how, underlying his superficial assurance and good manners, lay something fierce and primitive; he was a man who seemed to be "perpetually suspecting an ambush" [22] and had a savage gleam in his black, inhuman eyes.     

Perhaps that's why Kate, the 40-year-old Irishwoman at the cente of this peculiar work, is both drawn to him and repulsed: Cipriano could appear to be awfully nice and kind, but he also had a "heavy, black Mexican fatality about him" [24] that made her want to get away from him. Like Michael Howard, Cipriano has something of the night about him. His eyes were not merely dark-coloured, they were as black as jewels "into which one could not look without a sensation of fear" [67].    

Kate observes him at the dinner table:

"His face was changeless and intensely serious, serious almost with a touch of childishness. But the curious blackness of his eyelashes lifted so strangely, with such intense unconscious maleness from his eyes, the movement of his hand was so odd, quick, light [...] and his dark-coloured lips were so helplessly savage [...] that her heart stood still. There was something undeveloped and intense in him, the intensity and the crudity of the semi-savage. She could well understand the potency of the snake upon the Aztec and Maya imagination. Something smooth, undeveloped, yet vital in this man suggested the heavy-ebbing blood of reptiles in his veins." [67]

And this is despite the fact his god-father was an English bishop who oversaw his education and welfare and wanted him to become a priest. Still, Kate is also alert to what she imagines to be the "dark, surging passion of tenderness" [71] that Cipriano is capable of. She puts this down to his being an Indian. However, as Lawrence suggests in his next novel that even English gamekeepers can feel such tenderness, perhaps it's rooted more in phallic masculinity than race. 

One day, Kate and Cipriano have tea together. Again, Lawrence can't resist the opportunity to write of the latter's eyelashes and the way that his eyebrows tilted "with a barbarian conceit, above his full, almost insolent black eyes" and it's clear with whom his erotic fascination lies. Indeed, poor Kate is dismissed as "one of the rather plump Irishwomen, with soft brown hair and hazel eyes" [81] - i.e., of no real sexual interest.   

She may have her own feminine charms and mystery, but, for Lawrence, Cipriano is the main attraction; "he had a good deal of magnetic power", undiminished by his years spent in England. Indeed, his education "lay like a film of white oil on the black lake of his barbarian consciousness." Despite his diminutive stature, Cipriano also has real presence and substantial being: "He made the air around him seem darker, but richer and fuller" [82].

For Kate this makes Cipriano curious, but it quickly has the potential to become suffocating. And malevolent - even satanisch.

Although, clearly, his real love is for Ramón (whom he finds both compelling and incomprehensible), Cipriano decides he wants to marry Kate. He looks at her with "a strange lingering desire in his black eyes" [187] and sees her as a fresh-faced flower, despite her age. He doesn't merely want Kate to become his wife, however, he wants her to become the incarnation of a goddess by his side - just as he is the incarnation of the Aztec deity Huitzilopochtli, armed with a serpent of fire.

The absurdity of this idea makes Kate laugh. Kate informs Cipriano that it is her intention never to remarry and that she doesn't much feel like a goddess in a Mexican pantheon. But still she can't help admiring his body: "How dark he was, and how primitively physical, beautiful and deep-breasted, with soft, full flesh!" [201]

For all that, it's Ramón who really tickles her fancy and touches her inside. Cipriano seems only to offer her submission and horror. But then, as he says, why not accept a bit of horror in life; horror is real and belongs to an economy of the whole. He feels a bit of horror for her too; her light-coloured eyes and white hands. Horror is what adds spice to life; it gives the "'sharp, wild flavour'" [236].

Kate is not entirely convinced by Cipriano's uncanny logic, however. In fact, she think's he's simply trying to exert his will and get one over on her: "Really, he seemed sinister to her, almost repellant [...] how could she marry Cipriano, and give her body to [...] death?" [236, 246]    

Ramón sometimes sees something of this deathliness in Cipriano too; he knows him to be a man who thrills at the thought of power and longs for a holy war fought with the entire world if need be. (The German hotel manager who describes their neopagan revolution as just another expression of national socialism isn't far wrong.) If he can appear comical, ultimately the demonical little figure of Don Cipriano is not to be laughed at. 

When next they meet, Kate again notices the physical presence of Cipriano:

"Cipriano  made her a little uneasy, sitting beside him. He made her physicaly aware of him, of his small but strong and assertive body, with its black currents and storms of desire. The range of him was very limited, really. The great part of his nature was just inert and heavy, unresponsive, limited as a snake or lizard is limited. But within his own heavy, dark range he had a curious power. Almost she could see the black fume of power which he emitted, the dark, heavy vibration of his blood, which cast a spell over her." [310] 

Once Kate has tuned into the ancient phallic Pan mystery, she can conceive of marrying Cipriano, with his small hands, slanting eyes, and the "tuft of black goat's beard hanging light from his chin" [311] ... Not to mention his huge erection that rises suddenly in the twilight when the power of his blood is up and to which Kate is obliged to submit with supreme passivity, as beneath an over-arching absolute.

This, for all its highfalutin religio-literary language, is Lawrence (as narrator) simply indulging his BBC fantasies. He uses the character of Kate as a kind of sexual go-between between himself and the figure of Cipriano. It's odd to say the least, but something he often does in his fiction.      

Eventually, Cipriano achieves his deification and becomes-Huitzilopochtli. Even his soldiers can see the change in him; as if he has grown wings with dark feathers, like an eagle. And how does he exercise his second strength? Again, strangely - but not surprisingly, knowing Lawrence - he makes all his men cook and clean and do their own laundry, grow vegetables and paint the barracks. 

Doing chores and jobs about the place was Lawrence's idea of fun - and Cipriano's method of instilling some discipline in his men. For that was what was needed; not machine discipline, of course, imposed by outside authority, but sacred inner discipline. He also encourages them to dance the old dances to the beat of the drum, so that they might gain power over the living forces of the earth. This they do semi-naked, smeared with oil and red earth-powder, their limbs glistening with sweat.  

 

Cipriano loved to dance and loved also to watch his men dancing by firelight. He also enjoyed making long marches across the wild Mexican country and camping out beneath the stars. If he and his soldiers captured any bandits, Cipriano would strip them and tie them up. Those he judged to be beyond redemption he would stab with a knife to the heart, saying "'I am the red Huitzilopochtli'" [366].

Work - Dance - March - Camp - Kill: this, then, was the life of a soldier under the command of General Viedma. His was an elite force who threw off the drab uniform of regular troops and "dressed in white with the scarlet sash and the scarlet ankle cords, and carrying the good, red and black sarape" [366] (when not naked and displaying their dark and ruddy bodies).   

If all this sounds a little insane - like something from Apocalypse Now - that's because it is. Things don't get any less disturbing when Cipriano as the Living Huitzilopochtli has his coming out ceremony. To the sound of drums and brightly-coloured fireworks, he emerges from the church in his black and scarlet sarape carrying a torch and with "three green parrot feathers erect on his brow" [372].

Meanwhile, the semi-naked Men of Huitzilopochtli dance around like demons. After a song or two, the ceremony climaxes with an execution of prisoners, two of whom have their necks broken by guards and three of whom are stripped and blindfolded before Cipriano personally stabs each of them in the chest - once, twice, and three times for luck! This is followed by acts of blood play within the church (no women allowed) that make, if I'm honest, pretty uncomfortable reading.

No doubt Kate is right and Ramón and Cipriano act in good faith and all sincerity - but that's the problem, isn't it? Fascists and religious fanatics always believe in the rightness of their own deeds and their eyes always sparkle with conviction. And Kate is surely mistaken to believe that it's okay if Cipriano kills people and commits numerous other atrocities because his "flame is young and clean" [394] and he is of the gods.    

Inevitably, the novel ends with a kind of war. This releases a certain thrilling energy into the air, but "there was a sense of violence and crudity in it all, a touch of horror" [420], which rather made Cipriano happy "in his curious Indian way" [421]. Strangely, denying his wife Kate clitoral orgasm - or "the white ecstasy of frictional satisfaction" [422] - in the name of the greater sex also makes him happy.   

In sum, then, what are we to think of Don Cipriano, the First Man of Huitzilopochtli and fascist religious fanatic who loves dancing and dressing up almost as much as he loves killing helpless prisoners with a knife?

I said at the beginning he's a kind of composite character made up of various figures, and these surely include fictional psychopaths like Colonel Kurtz, as I hinted earlier. Indeed, it's interesting that Lawrence uses the phrase heart of darkness at one point, as if remembering Conrad's magnificent short novel and anticipating Francis Ford Coppola's movie 55 years later.   

The following, said by Kurtz, could quite as easily have been said by Cipriano discussing his own followers, or, indeed, Heinrich Himmler referring to members of his beloved SS: "You have to have men who are moral and at the same time who are able to utilize their primordial instincts to kill without feeling ..."

It's a little depressing to think that, for a while at least, Lawrence was to insist The Plumed Serpent was his greatest achievement and that he meant every word of it ... 

See: D. H. Lawrence, The Plumed Serpent, ed. L. D. Clark, (Cambridge University Press, 1987). All page numbers given in the text refer to this edition. 

Note: readers who liked this post might find an earlier one, on the queer love affair between Ramón and Cipriano that lies at the heart of Quetzalcoatl (the early version of The Plumed Serpent), also of interest: click here.

  

Operation Werewolf

Meine Werwolfzähne beißen den Feind

Werwolf was the brilliantly sinister codename for a plan to create a resistance force operating behind enemy lines that would strike terror into the hearts of the Allied forces as they advanced into Germany, similar - in the Nazi imagination - to the way in which their barbarian forefathers had struck terror into the hearts of the Romans who dared venture into the dark forests north of the Rhine only to find the skulls of their dead comrades nailed to the trees.

Who came up with the codename is unknown, although Hitler clearly had a penchant for names containing the word wolf and regarded the creature as his totem animal. It's also possible that Werwolf alluded to a novel by Hermann Löns, popular with figures on the far-right, including the Nazis.
          

What we do know is that in the late summer of 1944 Himmler ordered the formation of an elite force of volunteers drawn from the SS and Hitler Youth and trained to engage in clandestine activities and guerrilla warfare. The Allies soon got wind of this and Time magazine ran an article speculating on how the Nazis would attempt to prolong hostilities indefinitely by going underground and establishing sleeper cells.

Seeking to heighten and exploit such fears - whilst obviously realising that the game was up - Goebbels gave a speech on 23 March, 1945, in which he urged every German citizen to fight to the death and effectively become a werewolf. This would later cause problems for the Allies when seeking to identify those responsible for attacks; were they coordinated and carried out by trained fighters as part of a commando unit, or by lone wolves acting independently.  

Shortly afterwards, Radio Werwolf began broadcasting from outside Berlin. Each transmission would open with the sound of a wolf howling and when not encouraging every German to stand their ground and offer total resistance, it issued threats of revenge upon those who collaborated with the enemy.

These broadcasts further spooked the occupying forces, particularly the Americans, who were encouraged by their commanders to believe that every German was a monster in disguise. Unfortunately, this resulted in unnecessarily draconian measures being introduced and atrocities committed against German civilians by Allied troops during and immediately after the War.

Ultimately, like so much else about Nazi Germany, Werwolf was essentially a potent mix of medieval myth and modern propaganda; a mad fantasy which lacked any real bite or strategic value (not to mention material resources). The German people were all too willing to work with the Allies and there was no serious resistance, even if there were a handful of Nazi fanatics hiding here and there in forest huts - much as there were a few old Japanese soldiers holding out on tiny Pacific islands long after the War had ended. 

That's fascism ... fascinating - but fraudulent (and, who knows, perhaps fascinating because fraudulent).

Jüdische Insekten or Himmler's Lice

Antisemitic poster from 1942 used in German occupied Poland to warn against the 

supposed connection between Jews, lice and typhus; for the Nazis, Jews infected 

with the disease were metaphysically indistinguishable from its insect carriers.  

To paraphrase Shakespeare, if I may: Some are born insects, some wish to become-insect, and some have insecthood thrust upon 'em. 

Take the Jews, for example, in Hitler's Germany. When not being described as a cancer to be cut out of the body politic, or portrayed as a plague of sewer rats, they were obscenely characterised as parasitic lice or giant cockroaches in need of extermination. For racism loves to dehumanise and to operate in terms of pest control and personal hygiene.

In a speech to his fellow officers in April 1943, SS Reichsführer Heinrich Himmler openly declared:

"Antisemitism is exactly the same as delousing. Getting rid of lice is not a question of ideology. It is a matter of cleanliness. In just the same way, antisemitism, for us, has not been a question of ideology, but a matter of cleanliness ..."

To be judenfrei was, in Himmler's mind, to be deloused - i.e. free of blood-sucking, disease-carrying insects that infest individuals and threaten to spread throughout the entire population; creatures that cause feelings of revulsion and which deserve to be eradicated. 

Of course, Jews are not actually insects; they're human beings. And there are moral and legal prohibitions on the premeditated killing of human beings; we even have a special term for it - murder. And it's difficult to persuade people to commit murder. Thus the Nazis had a problem ...

The solution, as the quotation from Himmler demonstrates, involves pushing a metaphor - the Jews are inhuman vermin; the Jews are disgusting insects - beyond its own limit, transforming it into a pseudo-scientific fact and a deadly piece of doxa. Genocide ends with a pile of corpses, but it always begins with an abuse of language that allows us to kill in good conscience. As Hugh Raffles writes:

"There is no doubt that this happened in the Holocaust. ... Explaining it is at the heart of understanding the fate of the Jews, who, after all, would be killed like insects - like lice, in fact. Literally like lice. Like Himmler's lice. With the same routinized indifference and, in vast numbers, with the same techologies."

Raffles also suggests - and one suspects this might very well be the case - that Himmler in his speech was "indulging in an intimate irony with his men"; making a little joke at the expense of those murdered in the gas chambers:

"As is well known, prisoners at Auschwitz were treated to an elaborate charade. Those selected for death were directed to 'delousing facilities' equipped with false-headed showers. They were moved through changing rooms, allocated soap and towels. They were told they would be rewarded for disinfection with hot soup. ... The prisoners massed uncertainly in the shower room. Overhead, unseen, the disinfectors waited in their gas masks for the warmth of the naked bodies to bring the ambient temperature to the optimal 78 degrees Fahrenheit. They then poured crystals from the cans of Zyklon B - a hydrogen cyanide insecticide developed for delousing buildings and clothes - through the ceiling hatches. Finally, the bodies, contorted by the pain caused by the warning agent ... were removed to the crematoria.
      In this grotesque pantomime, the victims ... move from objects of care to objects of annihilation. To diseased humans, delousing promises remediation, a return to community, a return to life; to lice, it offers only extermination. Too late, the prisoners discover they are merely lice."

One of the reasons that the language of National Socialism continues to fascinate (and to appal) is because of the way it conflates and confuses metaphor, euphemism and a brutal literalism into a witches' brew that is vague and void of meaning on the one hand, whilst paradoxically transparent and full of deadly intent on the other.    


Afterword

There are, thankfully, far happier and more positive associations between Jews and insects. In fact, several species of the latter have been named after celebrated Jewish figures; there is, for example, the Karl Marx wasp and the Sigmund Freud beetle - not to mention the Harry Houdini moth, the Lou Reed spider, and the Carole King stonefly.   

See: Hugh Raffles, Insectopedia, (Vintage Books, 2010); particularly the chapter entitled 'Jews', pp. 141-61, from where all of the lines quoted - including those from Heinrich Himmler - were taken. 

Those interested in knowing more about the insects (and other organisms) named after famous Jewish figures, should click here.