Language and Loss
By John Guzlowski
My friend the writer Christina Sanantonioand I have been having a conversation about writing about loss. It’s a conversation fueled in part by the suicide of the novelist David Foster Wallace back in 2008. She wrote me a long letter about how we use or don’t use language to talk about loss, and about how hard it is to write about loss.
One of the things in her letter that really resonated with me was something she said about one of my favorite writers, Primo Levi, the Holocaust survivorand author of Survival in Auschwitz, who, like Wallace, apparently took his own life. Primo Levi frequently talked about the frustration of trying to write about loss and suffering, especially the loss and suffering he and so many othersexperienced in the Nazi camps. He felt we needed a new kind of language to talk about what happened there. Christina wrote that we ache for a language that doesn’t exist.
I’ve spent the last 35 years trying to find words to describe what happened to my Polish-Catholic parents in the German concentration and slave labor camps and what those experiences make me feel. I write about this event or that image; and no matter how powerful the original event described by my mother or father I can’t really describe it, explain it, bring it out of the past. I can’t bring it out of memory into this life. Instead, I’m left pushing around some words, trying to make myself feel what I felt the first time I heard that story when I was a child. Sometimes I think I almost succeed, but most of the time I know I’m not even close.
For me the poems that work best are the ones with my parents’ actual words in them. Those words are the real thing. In my poem “Here’s What My Mother Won’t Talk About,” my mother refuses to tell me anything about the murder of her mother and her sister and her sister’s baby and her own rape. All she will say to me is “If they give you bread, you eat it. If they beat you, you run.”Likewise in my poem “The Work My Father Did in Germany,” my dad tells me what he said to the German guards who tormented and beat him and blinded him, “Please, sirs, don’t ever tell your children what you’ve done to me today.” There are bits and pieces of their words scattered throughout my poems, and when I read these words out loud my parents are there with me. I’m again a kid listening to my dad tell me about the day he saw a German soldier cut off a woman’s breast or listening to my mom tell me about the perfect house she lived in in the perfect woods in eastern Poland before the Germans came. My parents’ words are a kind of magic for me.
But how do I convey this magic to other people?
I think sometimes that all I can do is read my poems out loud and show people how the poems affect me. I guess what happens then is that my words become like my parents’ words. I become my father and mother for that moment in the poem.
Sometimes, I think, this touches people, conveys the magic to them.
I’ve seen this happen at some of the poetry readings I’ve given. A person stands up at the end of the reading when I invite questions, and he doesn’t say anything. He just stands there. I don’t know if the person even has a question. Maybe he just wants to show how much he feels my parents’ lives; or maybe the loss I talk about somehow reminds him of a loss he experienced and couldn’t talk about and still can’t talk about.
For me one of the central images of the Bible is the image of the Tower of Babel. It represents in my eyes the moment when humanity became trapped in language that would not communicate what we needed to communicate. It was a second fall from grace. Our lives became chained to a language that doesn’t convey what we feel or what we mean. Although we have this deep need to say what we feel, we often can’t explain it to ourselves or to other people. Sometimes our words fail us and sometimes other people fail us. They can’t bring themselves to listen to our stories of loss. It’s hard to take on that burden.
When my father was dying, he told me a story about a Lithuanian friend of his in Buchenwald Concentration Camp who had made love to a German woman and contracted VD. He came to my father and asked him what should he do. My father said, “Go to the river and drown yourself.” His friend thought my dad was joking, and he went to another friend who told him, “Tell the Germans what you did.” My father’s friend did that, and the soldiers killed the woman; and then they beat my father’s friend, castrated him and killed him.
Fifty years after his friend’s death, when my father was telling me this story, he still didn’t know what he could have said to his friend to save him from what happened.
No matter how hard it is to tell someone something, no matter how hard it is to get beyond the Babel we’re caught up in, I think we need to try.
Will it change the world? Make anything different? Better?
We can only hope.
About the Author: John Guzlowski’s writing appears in Garrison Keillor’s Writer’s Almanac, Rattle, Ontario Review, North American Review, and many other journals here and abroad. His poems and personal essays about his Polish parents’ experiences as slave laborers in Nazi Germany and refugees making a life for themselves in Chicago appear in his memoir Echoes of Tattered Tongues (Aquila Polonica Press). Echoes of Tattered Tongues is the recipient of the 2017 Benjamin Franklin Poetry Award and the Eric Hoffer Foundation’s Montaigne Award. He is also the author of three novels.
He blogs about his family and his life at his blog Echoes of Tattered Tongues.