The photographs I have left of my Father, who died when I was a baby, are in black and white. As are my baby pictures, stuffed into a bag in an album that has lost its binding. The Flapper gave me to her friends, my foster parents, after her automobile accident because her only other choice would have been an orphanage. My sister Kay was already taking care of my two brothers, and they had to go back to school, so who else would take care of me?
Nell only had one child, and her daughter was in nursing school when I arrived in Victory Gardens after the War in 1949. And so I was raised by a grandmother figure, as Nell was already in her 50s. And she catalogued my childhood lovingly, pasting black and white pictures with tiny black paper edges onto every page. Only my memories conjure up the white and pink explosion of the dogwood tree outside our kitchen window, the red and white tile in the one bathroom, the green grass under my feet with the white sheets billowing above.
Our TV was in black and white, and after school I would walk home from the bus in my maroon plaid Sacred Heart School uniform, to catch Nell watching Art Linkletter on Kids Say the Darndest Things. A small piano stood in a corner with brass feet and hard white teeth. Our first dog was black and brown, I remember sitting on Daddy Jim’s feet while he read the black and white newspaper, and smoked his pipe after work. I would lean back on his knees and stroke the dog’s fur, listening to his critique of the day’s news. Maybe this is when I thought I might have something to say about world events?
When we view history through a black and white lens, we lose something of the nuance. The tone is off, and it becomes harder to relate to something that happened so long ago. It creates the distance we need to survive certain tragedies, like my Year of Living Dangerously – my psychologist brother Jim’s description of 1949. Which is why finding this photographer, Marina Amaral, is like finding a jewel in the coal dustbin of time.
Amaral’s passion is restoring and colorizing old black and white pictures. And I found a picture she posted online of a child, a Czechoslovakian girl who was the same age as my sister Kay in 1949, when she died at Auschwitz in 1943. Her name was Czeslawa Kwoka; and I remembered Nell’s given name was Kosty, which was probably changed at Ellis Island. On Amaral’s webpage, you can move a line back and forth over the child’s face, and bring color to her cheeks and blood to the cut on her lip.
“Color has the power to bring life back to the most important moments,” http://www.marinamaral.com
Today more than ever, on Holocaust Memorial Day, we must remember that the Holocaust started with the rhetoric of hate, and the silence and indifference of the rest of Europe and America. And we must vow to resist in any way we can, and we must say her name, Czeslawa Kwoka.
Photograph courtesy of Marina Amaral.