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In search of Bruno Schulz
By Anshel Pfeffer
Tags: Holocaust, Israel, Poland 

Last weekend 450 Jewish teenagers living in the former Soviet Union traveled to the western Ukraine in search of Bruno Schulz. The 20th-century Polish-Jewish artist and writer lived in Drohobycz, Galicia (now called Drogobych), where he also died at the hand of an SS officer.

The students are part of the Jewish Agency's Project Heftziba, which every year takes all the 10th-graders in its schools on a heritage tour of the disappearing communities within the Pale, the area in which Jews were permitted to live during the reign of the Russian czars. They study history and also help renovate neglected synagogues and Jewish cemeteries.

This year the program focuses on Drohobycz, home to 15,000 Jews on the eve of World War II. Schulz's writings in Polish were published to critical acclaim in the 1930s. However, most of his fame has been posthumous, following the translation of his work into English. He has been called the "Polish Kafka."
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Drohobycz was occupied by the German army in July 1941. The local Gestapo commander, Felix Landau, was taken by Schulz's talent, and ordered him to paint murals inspired by German fairytales in his son's bedroom. Schulz was shot to death on November 19, 1942 by another SS officer, Karl Gunther, in retaliation for Landau's murder of a Jew who was under Gunther's protection.

The student tour, which was funded by The Conference on Jewish Material Claims Against Germany ("Claims Conference"), was the first of its kind for Jewish high schoolers from the former Soviet Union. Prior to the trip, they studied Schulz's works for several months. During their visit, they reconstructed his final hours as well as some scenes from his stories, such as the one from "Cinnamon Shops," in which the main character flees from the local theater and runs through side streets to escape the shame caused him by his parents.

In the past, the fact that Schulz was an assimilated Jew whose works have no direct connection to Judaism, much less Zionism or the Land of Israel, would have put him outside the sphere of the Jewish Agency emissaries who organized the tour.

But Uri Ohali, Jewish Agency director of Project Heftziba, sees this as a benefit. "Through Bruno Schulz the students understand the complexity of Jewish life in Poland before the war," Ohali said. "On one hand, the cultural involvement, and on the other hand the social rejection. In a nonmediated manner they go through the stages of his life, from birth to death, and learn a chapter about the provinciality of the Jewish intelligentsia.

"It is important to the Jewish Agency, too, for students to see not only cemeteries and synagogues but also secular Jewish culture as aspects of Jewish destiny. The children cry at the story of Schulz's death and also laugh at his stories."

Some of the students came from distant corners of the former Soviet empire, such as Khyrgystan, the Ural Mountains and Siberia. For them, the trip represents the closure of a familial circle, since their grandparents, and in some cases their parents as well, lived in the area of the Pale before being exiled by the Soviets at the beginning of World War II.

The students were unable to enter one site that was central to Schulz's life: Villa Landau, where he painted the murals for Landau's son. It is slated to become a museum dedicated to Schulz's works and is closed to visitors at present.

The murals were plastered over after the war, when some of the house's rooms were used for storage. They were rediscovered only in 2001, and in June of that year they were removed and flown to Jerusalem's Yad Vashem, the Holocaust Martyrs' and Heroes' Remembrance Authority, in a clandestine operation. The arrangement that enabled the transfer is still controversial, and it caused a diplomatic crisis between Israel, Poland and Ukraine.

Yad Vashem officials claimed the removal was approved and that the paintings' proper home is in their museum. Ukraine and Poland claimed that the works were national cultural assets.

The frescoes are in Yad Vashem storerooms and have never been exhibited to the general public. No outsiders were permitted to see them until two months ago, when Yad Vashem reached an agreement with the Ukrainian government under which the paintings were declared part of Ukraine's national cultural heritage but will be on indefinite loan to the Jerusalem museum. Yad Vashem announced that the paintings will go on display this summer.
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