After their grandmother’s death, Jérémie and his brother attempt to learn more about their family’s Jewish-Polish roots. But Jérémie is less interested in how the Holocaust affected his family and more interested in understanding what it means to be Jewish and Polish in today’s world. They decide not to do the Holocaust trail―they won’t go to Auschwitz―but instead go to Zelechów, the village where their grandfather was born; Warsaw, their grandmother’s hometown; and Kraków, the city that hosts Europe’s largest festival of Jewish culture. In their quest for identity, they gradually put together the pieces of their family history, while at the same time discovering a country still affected by its past and a culture greater than themselves.
Praise for We Won't See Auschwitz:
“A beautifully illustrated document of two Jewish brothers who visit Poland seeking their cultural heritage.” ―Shelf Awareness
"synopsis" may belong to another edition of this title.
Jérémie Dres lives in Paris, France. This is his first graphic novel.
The book, an English translation of Dres's Italian graphic novel of the same name, details the author's journey to Poland with his brother, Martin, to trace their Jewish roots after the death of their grandmother. Told in a clean journalistic style that prizes accuracy over adventure, the volume provides a good history lesson but lacks emotional impact. The book gets off to a promising start, describing the humorous and touching relationship between Dres and his grandmother. It then delves meticulously into the brothers' journey to Poland and the surprises they find there regarding their Jewish heritage. As the title suggests, the brothers choose not to visit Auschwitz and instead focus on the current state of Jews and Judaism in modern-day Poland. It's a smart decision to avoid this already-well-trodden territory, but ultimately the story's a bit dry. It's easy to understand why the trip has affected the creator personally, but the book doesn't entirely succeed in engaging readers. Simple, pared-down b&w visuals are a good match for the subject matter, and the more active and emotionally resonant scenes, like the one describing the discovery of the grave sites of the brothers' ancestors, are far superior to those featuring talking heads, which make up the bulk of the book. (Sept.)
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