Adele Mendelson

About my novel, "Sarah and Zari After the War"

    I was born in 1945, the year the Second World War ended. At the time we lived in a mostly Eastern European immigrant community in Cleveland, Ohio. My mother emigrated from Ukraine in 1923 when she was nine years old, and my father’s family came from Lithuania in the early 1900s. They were so poor in Vilnius that my great-aunt Liz developed rickets as a child. Once my parents’ families settled here, they struggled to support themselves, live through the Depression, and find their way to the middle class. When my father and his sister Dorothy bought a duplex, Liz moved into the tiny third-floor-apartment. She figures greatly in my novel.

     I don’t remember my family talking about losing anyone in the war. In fact, they didn’t talk much about the “Old Country.” One evening my mother surprised us by describing a pogrom that came through her town during the time of the Russian Revolution. She said, “If we were lucky, someone from a neighboring village would run into town shouting, ‘They’re coming!’ So your grandmother would hide everything, including our food, and take us deep into the woods where your great-grandmother lived. Sometimes we would hide there, terrified, for days.”

     Unlike some families, where the Holocaust hung out in the living room, our living room was full of Aunt Betty, Cousin Susan, Uncle Harry, numerous other relatives, a black-and-white TV, and my mother playing mah jonng with her friends in the corner. 

     I was a 100% American kid and never thought of myself as anything else. I couldn’t relate to what I saw in news reels, movies, and magazines about the war and its aftermath. It all seemed like somebody else’s incomprehensible history, incomprehensible nightmare that had nothing to do with me,  and I had no desire to identify with victimhood and tragedy. As I grew older, I came to understand what happened in Nazi Europe, what happened to Jews. I found myself riveted to newspaper articles about survivor families who had recovered some painting or other property stolen by the Germans. I would sit at my kitchen table reading and weeping.

     Why was I crying? Recovering stolen goods is a cause for celebration, isn’t it? And why was I so stricken by the losses of people I didn’t know? Reading those stories, I put myself in the place of those survivors. I thought about how that one precious item might throw into relief the enormity of what I had lost – The entire world where I was living the life that was supposed to be mine, that held everything I cared about, that held the people I still dream about and weep for. It would remind me that the 9had the loss of that world threw me because that world had vanished, I was thrown onto the shores of some country I didn’t want to be in and a language I didn’t know. 

     Even though the Holocaust didn’t touch me personally, it is so present in the memory of the Jewish people, that the grief and loss are also mine. This explained my tears. With this realization, I began to write.  

ABOUT MY POETRY

How Do My Poems Come to Me?

     My poems arrive in myriad and mysterious ways. Sometimes a yearning, a memory or an idea that won’t let go, a piece of language I’ve picked up somewhere. Often it’s about something I’m suffering. If the poem arrives as a puzzle, the writing is about figuring it out. 

     Writing a poem is an experience both satisfying and difficult for me because, once that kernel of inspiration hits the page, I struggle to make it true to the original buzz. I want the poem to say what I mean. If I can’t get there, I feel it as a failure. I might throw the thing away. If the poem is good, even though it’s not what I want, I keep it. I also try to avoid getting lost down some path that is wonderful but doesn’t belong in the poem.

     “Calypso” is an example of a poem I wrote about a specific moment in my life. I was vacationing on Isla Mujeres, and my friend and I had rented hammocks on the beach to save money. One morning we saw Jaque Cousteau’s ship Calypso pull into view and anchor just offshore. Over the next few days, I watched the young volunteers from all over the world and wrote this poem. 

Calypso

Just offshore Isla Mujeres the Calypso anchored
one summer to study the migration of the lobsters.
Cousteau’s young people, brown-skinned and beautiful,
strolled up the beach, their bodies silhouetted
by the orange glow of sun.

We watched them occupy tables at La Rana
and Sol y Mar, order plates of langosta, lean in
towards each other rapt in conversation. We heard
the phrases “bottom light,” dome ports,” and “angle range.”
We watched them, but they had no eyes for tourist girls
lying on the beach in their suntans and indolence.

As the buzzing of insects rose around us,
they finished their beers and disappeared
into the night, French and German phrases
trailing them like smoke. More than exotic,
more than sexy, they were like beings from a planet
more successful, more brilliant than ours.
I wanted to make love to them, to hold them
in my body. I wanted to become them.

I imagined that ragged line of lobsters hobbling
along the bottom of the sea. I imagined the lobsters
looking up and seeing those youthful bodies,
flippers at the end of long waving legs, swimming
through that gorgeous green sea.

You can contact me at : adelemendelson.writer@gmail.com