Tag Archives: Bulgaria

An apology

Just read the second article of Manol Glishev on Boris III.

Now I have to send out an apology to a lot of people. I called Glishev initially a “poet and intellectual“. To all poets and intellectuals – I am really sorry for that.

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Retardistan

Manol Glishev is “rather amused“ – by what? By the death of 11,363 Jews who were sent to Treblinka by his idol and the blog post I wrote about it.

Manol Glishev is also inspired – he promised to write a poem/poems about this amusing topic. – “My funny Holocaust Haikus“ is the working title as I have heard.

And judging from his fine sense of humor, I am sure not to expect in vain a sitcom featuring Macedonian Jews cracking jokes in the gas chamber…soooo amusing – at least for a person with the character of a Manol Glishev.

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

An experience

I am very rarely commenting on political topics in social media. But sometimes a posting is provoking a reaction from my side; especially racism, antisemitism, sexism, homophobia, xenophobia, revisionism faced in comments in social media require that I have to take a stand from time to time.

So it happened that during the last weeks I was twice active in FB in relation to a political topic. In one case I signed – following the invitation of a friend – a petition regarding the banning of the Bulgarian chapter of “Blood & Honor”, a disgusting and extremely violent skinhead and Nazi group that is banned in many countries because they are considered as a criminal gang responsible for hundreds of hate crimes against “non-whites” (also in Bulgaria they have a track record of beating people to pulp that don’t look “white” enough).

The other case was the revisionist campaign by some crypto-fascist pseudo-intellectuals on the payroll of former Czar and Prime Minister Simeon Sakskoburggotski who try to rewrite Bulgarian history and turn the main responsible for the deportation and killing of more than 11,000 Jews, Boris III, into a national hero and “Bulgarian Schindler”. My answers in both cases were common sense answers: spreading publically available information on the Nazis, and mentioning scientific publications that render this revisionist attempts ridiculous, and refute the invented claims of Boris III as the savior of the Bulgarian Jews.

As a reaction, I was branded in the public discussion or in private messages (partly sent anonymously), amongst others, as:

“Liberal”, “communist”, “liberal-communist”, “cultural Marxist from the Frankfurt School”, “liar”, “bolshevist mongrel”, “Nazi”, “Jewish bastard”,” SS-Sturmbannfuhrer”, “idiot”, “garbage”, “retard”, “pederast”, “nutcase”, “slanderer”, “anti-bulgarian”, and many other nice epitheta that speak for the intellectual level of those who use it – I am talking about dozens, no, hundreds of people using this kind of expressions, mostly people who are according to their public profiles historians, psychiatrists, TV hosts, advocates, or who have other professions that require a certain formal education or at least knowledge or professionalism. (For sure I know that of course only for the non-anonymous part of the messages.)

Additionally, and in mostly but not always anonymous messages, my parents and family were threatened and insulted in the most primitive manner, people expressed regret that I was not gassed in Treblinka, it was promised that “we will find out where you live, and then you will see!”, I was promised to be beaten to pulp, or alternatively that they wish “someone will break every single bone in your body” or will “shut you up for ever”, and various other forms of interaction that correspond with the mental abilities of this human scum. (For those that promised to wait for me “on the streets of Sofia and show you what it means to mess with us”: be aware that my Albanian bodyguards are maybe just around the corner in that case – and be also aware that they have their own concept of “Blood & Honor” – if you get the point.)

It is an experience, but I am not surprised. It is quite a spectacle to see a certain category of individuals acting like a pack of rabid dogs, or a bunch of foaming hysterical lunatics in a pogrom – just because you dared to voice an opinion and present some facts that are unpleasant for them.

Welcome to Bulgaria, the country that prides itself with its “legendary tolerance and hospitality”. 

To be fair: I know – no, I hope that these people are not the majority in Bulgaria. But what really shocks me is the almost complete lack of any solidarity for people who voice justified criticism and are actively doing their duty as citizens to stand up for human rights, or the right of free speech, and against fascism, racism, revisionism.

Even a big part of the intellectuals in Bulgaria seems to be on permanent vacation or busy with their own things. At least that is my impression and experience. Not everyone is like me eloquent and well-equipped and -prepared to deal with those people I described in the previous paragraphs and that represent the dregs of the Bulgarian society; and not everyone has his own outlet to speak out like I do here. For the marginalized and bullied groups in Bulgarian society, life must be very depressing – not only because they are marginalized and bullied, but because so few people who know or should know better stand up for them.

 
© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

A case of revisionism – short update

A Bulgarian version of my previous article on the Boris III campaign by revisionist circles was published recently on the popular website Площад Славейков (Ploshtad Slaveykov), together with articles by the Bulgarian novelists and writers Lea Cohen and Angel Wagenstein

There is also an interesting article related to the publication of the Bulgarian translation of Tzvetan Todorov’s book Тоталитарният опит (L’expérience totalitaire: la signature humaine) that deals with this question in a philosophical context on the same website.

Todorov

Tzvetan Todorov: L’expérience totalitaire, Points, Paris 2011

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

 


A case of revisionism, or How interested circles in Bulgaria try to turn the main responsible for the killing of 11,363 Jews into someone that is “more than a Bulgarian Schindler”

The events about which I am talking here took place more than 70 years ago and are extremely well documented. But until today there are two competing narratives regarding the interpretation of these events and a recent interview of the former Bulgarian Czar and later Prime Minister Simeon Sakskoburggotski (Simeon von Sachsen-Coburg-Gotha) brought them to the surface again and created a quite heated discussion in the public sphere in Bulgaria.

The facts: Bulgaria, whose government at that time had since long very close ties to Nazi Germany, joined the Axis officially on March 1, 1941. Bulgaria had lost territories in the Balkan Wars and WWI that it considered to be rightfully part of Bulgaria, and Nazi Germany supported these territorial claims to Macedonia, a part of Kosovo, the Dobrudzha, and the Greek part of Thrace. Part of the deal to join the Axis was on the other hand to actively support the extermination of the Jews – it was later agreed that Bulgaria will “deliver” as a starter 20,000 Jews to the Nazis. So, in the end of the day it was a deal “territory against handing out the Jews for extermination”.

Even before joining the Axis, the Bulgarian government started to support actively the anti-Semitic policy of the Nazis. Bulgaria issued laws that deprived Bulgarian Jews of most of their rights; the laws were inspired by the anti-Semitic laws in Nazi Germany that in a way prepared the population to accept the fact the Jews were no citizens, and actually not even human beings in the ideology of the Nazis and their willing helpers.

In spring 1943, the Bulgarian parliament issued a supportive vote to deport for now 20,000 Jews from the territory of Bulgaria (including those territories that were to be annexed by Bulgaria) to Poland. 11,363 Jews from Bulgarian-occupied Macedonia and Western Thrace were rounded up by Bulgarian police and military, put in trains guarded by Bulgarians and sent mainly to Treblinka. There was literally only a handful of survivors.

When in March 1943 the Bulgarian authorities started to announce their intention to round up also the Jews from the “Old” Bulgarian territory, i.e. Bulgaria in the borders before 1941, courageous Bulgarian citizens, a few politicians with a conscious (such as Dimitar Peshev), and some of the leaders of the Bulgarian Orthodox Church (Metropolit Kiril and Metropolit Stefan), organized public resistance in Kyustendil, Sofia, Plovdiv, and other places. A demonstration of the illegal Communist party in Sofia resulted in the arrest of more than 400 participants.

Bulgaria was a country where antisemitism was not a mass phenomenon, most Bulgarians traditionally held good relationships with their Jewish neighbors and felt that they were Bulgarian citizens just like everybody else. It became obvious to the government and to the powerful Czar Boris III that they had underestimated the supportive reaction of the Bulgarian population for the Jews; at a time when it was already clear that Nazi Germany will lose the war (this happened after the capitulation of Stalingrad), the Czar and the government decided to “play on time”.

In order to avoid a serious crisis and threat to their power by a possibly very strong reaction of a considerable part of the Bulgarian population if they would deport the remaining Jews to Poland, they found all kind of excuses to delay the deportation – much to the anger of Dannecker, the highest Nazi representative in Bulgaria who was dealing with the organisation of the endlösung, and of Hitler personally. But knowing fully well that he was on the losing side, Boris (who died a few days after he visited Hitler in Germany) tried to gain some leverage for the time after the war. And to be considered the “savior” of the Bulgarian Jews would be possibly part of that leverage, so he hoped.

As a result, all Jews within the pre-1941 territory of Bulgaria survived (unless they perished as part of the partisan movement); almost all Jews in the annexed territories were killed.      

In his recent interview with CNN, the son of Czar Boris III, the former Czar Simeon II, and later Prime Minister of Bulgaria, mentioned his hopes that his father will be declared one of the Righteous Among the Nations, a title awarded by Yad Vashem to non-Jews who risked their lives to save Jews during the Holocaust.

The basic criteria to be awarded the title of Righteous Among the Nations, according to the official website of the Yad Vashem Memorial are as follows:

  1. Active involvement of the rescuer in saving one or several Jews from the threat of death or deportation to death camps;
  2. Risk to the rescuer’s life, liberty or position;
  3. The initial motivation being the intention to help persecuted Jews: i.e. not for payment or any other reward such as religious conversion of the saved person, adoption of a child, etc.;
  4. The existence of testimony of those who were helped or at least unequivocal documentation establishing the nature of the rescue and its circumstances.

It is obvious that Czar Boris III is not fulfilling a single one of these criteria.

I would not have mentioned the attempt of a son to whitewash his father from his responsibility of the death of more than 11,000 people, if it would be a private matter only. But Simeon is not a private person only. He came back to Bulgaria after decades of exile to become Prime Minister, making the promise that after 800 days the Bulgarians would live better under his rule (he and his sister live indeed much better now – one of the first laws he issued was about the restitution of the private property of the family of the Czar, and now he and his sister own land and properties that were never theirs, and which make them the by far biggest landowners in Bulgaria).

The reason why I am writing about this topic is another one. What we can witness in Bulgaria is the attempt of interested circles to whitewash history, to deny historical responsibility for the deeds of the past, or even for serious crimes that were committed in the past. That is not limited to Bulgaria of course, and it is not limited to the role of the Czar in the survival of the Bulgarian Jews living on the pre-1941 Bulgarian territory. Revisionism is in my opinion a very serious threat for Bulgaria. Only when you know who you are and what you did in the past and for what you are responsible, you have a chance to learn from history.

An article written by Manol Glishev, a poet and intellectual, shows clearly the very ugly side of this kind of revisionism. I was really shocked and aghast when I read it.

After an introduction which he is using to insult everyone who dares to be critical regarding Boris’ role and Simeon’s objective lies about that part of history (see below), saying that “negativism transferred from father to son or from son to father is a totalitarian practice”(!!!), we “learn” in his article how Boris III was working hard for years to preserve the life of every Bulgarian – but “unfortunately” the Jews in the occupied and annexed territories were not Bulgarians, so there was nothing he could do. (This is ignoring the fact that it was Boris III and his government that “made” all inhabitants of the occupied and annexed territories into Bulgarians – except for the Jews, for which he had already other plans.)

In one of the paragraphs that is dealing with the fate of the Macedonian and Thracian Jews, Glishev is writing that Macedonia was not part of Bulgaria at the time of the deportation and that the Czar made “big efforts” to save the Macedonian and Thracian Jews. Both is simply a fabrication. I would recommend Mr Glishev to read a bit about the historical facts. As a start I could recommend him the excellent book by Rumen Avramov: “Salvation” and fall: Microeconomics of the state antisemitism in Bulgaria 1940-1944, which shows among other things the very strong involvement of the Bulgarian state, its government and its ruler, Czar Boris III in the deportation and killing of the Jews in the annexed territories. That the Bulgarian state and Boris himself bear the responsibility for the extermination of the Jews in Macedonia and Western Thrace is also evident from the documents published recently by Avramov and Nadia Danova from the archives of Alexander Belev, the “Kommissar für Judenfragen” in Bulgaria, the organizer of the activities against the Jews. Mr Glishev could also inform himself by reading the Dimitar Peshev biography by Gabriele Nissim. Or Arno Lustiger’s excellent book Rettungswiderstand, in which the author describes clearly and with plenty of documentary support that the main responsibility for the extermination of the Jews in Macedonia and Western Thrace was with the Bulgarian government and Boris III.

When Mr Glishev even writes that “Boris is more than a Bulgarian Schindler” (headline of his article), I feel really that I am running out of words. To read a headline like this from an intellectual and poet is sickening. His intervention on behalf of an opportunistic ruler who sided with the Nazis because it suited his policy to increase the Bulgarian territory (and let – if possible – others do the dirty job for him), someone who didn’t have the slightest problem to turn the Bulgarian Jews into slaves that were deprived of almost any human rights, someone who ordered his policemen and military to round up the Jews in Macedonia and Western Thrace and send them to Treblinka, is not a worthy cause by any means.

According to the logic applied by Mr Glishev, Joseph Goebbels should be given the title of a Righteous Among the Nations too. It was Goebbels, who ordered the release of about 2,000 Jews in Berlin in 1943, after a group of women demonstrated in the Rosenstrasse in Berlin, after the arrest of their Jewish husbands and fathers. As a result of these unexpected demonstrations, and after a major bombing raid, Goebbels decided not to fuel possible protests and to release these people – for the time being. Does that make Goebbels a “savior of the Jews of Berlin”? The answer is obvious, and I feel ashamed that some people, among them even intellectuals and writers have the chutzpah to make a “savior of the Jews” out of an opportunist and bootlicker of the Nazis, who partnered in their crimes whenever it was favorable for him.

In an emotional, but factually correct response, the writer and survivor Lea Cohen answered to Glishev’s unsupportable article and Simeon’s interview.

Contrary to what Simeon said in the interview, Bulgaria was not an occupied country; Macedonia and Western Thrace were occupied by Bulgarian troops; to say that Boris “was hiding the Jews in labor camps” is so ridiculous and outrageous as to say Stalin was “hiding the opposition in labor camps”; it was not Simeon’s mother, but the Spanish ambassador that issued passports to the Bulgarian Jews; it was not the Nazi administration, but the Bulgarian administration that sent the Jews from Macedonia and Western Thrace to Treblinka; Boris III name was removed by the Jewish National Fund from all commemorative signs after a committee headed by an Israeli High Court judge came to the result that he in no way was responsible for saving the Bulgarian Jews – Simeon is just outright lying in this interview.

It makes me angry to see a person spreading so much obvious revisionist lies as Simeon does; it is sickening to see some intellectual and writer running to his help for his outrageous lies, trying to manipulate the public opinion in Bulgaria in accordance with Simeon’s revisionist agenda.

That the Jews in the pre-1941 Bulgarian territory were saved, is and will always be an honorable act by the part of the Bulgarian population responsible for it and by those people who voiced their resistance to the planned deportation; Boris III doesn’t belong to that group of honorable people, and revisionist campaigns like the one his son, with the support of interested circles, is running now, will hopefully have no success. This is not only a question of the interpretation of historical events; it is also a question of morals and ethics.

It is high time to admit that also Bulgaria had its share of responsibility in the Holocaust, and that the saving of a part of the Jews is just a (convenient) part of the whole story. It is also important to remember who was responsible from the Bulgarian side for this participation in the Holocaust: the Bulgarian government at that time, and the monarch Czar Boris III. That may be painful for some people who still prefer a made-up version of history to the truth – but it is indispensable for the country’s future. Only a Bulgaria that acknowledges its past – and not a revisionist parody of it – will be able to build a future free of the ghosts of antisemitism, racism and fascism.

kniga_roumen_1

Румен Аврамов: „Спасение“ и падение, Университетско издателство „Св.
Климент Охридски“, 2012 (Rumen Avramov: “Salvation” and fall: Microeconomics of the state antisemitism in Bulgaria, 1940-1944), Sofia 2012

Румен Аврамов и Надя Данова: Депортирането на евреите от Вардарска Македония, Беломорска Тракия и Пирот, март 1943 г./ Т. I-II (Rumen Avramov and Nadya Danova, eds.: The deportation of the Jews from Vardar Macedonia, Aegean Thrakia and Pirot, March 1943, 2 vol.), Sofia 2013

Arno Lustiger: Rettungswiderstand. Über die Judenretter in Europa während der NS-Zeit. Wallstein, Göttingen 2011

Gabriele Nissim: The Man who stopped Hitler, I. Borouchoff, 2002

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

An Afternoon in the Museum

A few days ago, I had the opportunity to pay a visit to the newly opened National Art Gallery “Square 500” in Sofia which shows right now a huge exhibition curated by two former museum directors. The exhibition gives an overview over the Bulgarian Museum collections of the National Gallery (for Bulgarian art) and of the National Museum for Foreign Art.

The museum, ridiculously dubbed “the Bulgarian Louvre” by a part of the media and political “elite” of the country was already before its opening subject to many headlines in the media, namely because of the delayed opening and – not completely untypical for Bulgaria – because of alleged irregularities in the procurement and tender process of the reconstruction of the building that houses the museum. A rather big amount of tax payers’ money went into the coffers of the shady construction mogul who – allegedly – won the manipulated tender because he – allegedly – is a friend of the Minister of Culture.

If these rumors are really true I cannot say – but I wouldn’t be surprised. As an art lover I am of course more concerned about the result and I want to give my informed opinion about it here.

The edifice of the building which houses the museum is a late 19th century design in Viennese style, adapted after WWII to the needs of a museum and again changed now by several modern attachments, all in all a worthy location for such a museum.

Most of the artworks I saw in the exhibition were already known to me – except for a few that are borrowed from other collections for this exhibition – it is basically a combination of the works that were housed before in the two separate museums mentioned above. So regarding what I saw I can say: a good overview about Bulgarian art since the 1830s until 1989 (I didn’t see any artwork produced after the collapse of communism – if this reflects a lack of budget for new acquisitions in the last 25 years or a political statement that tells us that there is no good art produced in Bulgaria in the last decades according to the exhibition curators I don’t know), and a – in my opinion not very favorable mix with foreign artworks that are hung frequently together with Bulgarian artists of the same period.

While the Bulgarian art collection is in a way representative (except for the most recent period), the presented examples of foreign art are in most cases mediocre. It is also not visible or explained why the artworks are hung in that specific neighborhood (which frequently has no relation/influence with the respective Bulgarian artist).

Another thing that struck me was the lighting: in some rooms it was really awful and much too intense. Artworks are sensitive items and the light must be carefully balanced between the need to protect it against possible damage and the wish of the visitors to see and study it in the best possible way. The lighting as it is now doesn’t do justice to either of these requirements.

I had also the impression that the plates which describe the artwork have been done in the very last moment; there are frequently four or five of such very basic paper clippings stuck to the wall in one place and the visitor has to guess which plate belongs to which artwork. It looks cheap and inadequate.

Alas, the most surprising thing for me was something else: when you prepare such an exhibition which shows a considerable part of the visual art heritage of the country and which many people would like to see, you should make sure that people really see it when they visit the building. My guess is that a lot of the visitors will not have seen many of the artworks because the orientation in the exhibition is very very difficult.

The exhibition covers several floors and the whole building is a little bit like a labyrinth – there are only a few (very small) arrows that guide the visitors, room numbers are missing frequently, as a visitor you stumble from 19th century Bulgarian art to Christian Indian art from Goa, to Japanese woodcuts, and you have never an idea what comes next or what you have probably missed when you have once chosen a direction that was not the one intended by the exhibition makers (but which you can only guess). Friends who visited the exhibition told me for example that they almost didn’t find the room with the artwork of Vladimir Dimitrov-Maistora, one of the most famous Bulgarian painters, and only because of their persistence they found the hidden room where his paintings from the collection are displayed. And I am sure I saw – probably! – all works only because I am a very persistent visitor. Just when I prepared to leave I realized I had missed a complete flight of rooms with four more exhibition rooms!

That the museum shop where you can buy the exhibition catalogue and many other catalogues and books is hidden in a corner at the very edge of the outermost corner of the building and not in the entrance area where it belongs adds to the picture. The exhibition makers could easily print a small map on the backside of the ticket for orientation – this small thing would add indeed a lot of value for the visitors. But no, you have to pay 10 Leva (5 Leva for students, pensioners, unemployed), a proud amount considering the average salaries of the Bulgarians – and then you are on your own in the building. 

A nuisance: while most living Bulgarian artists are not at all represented in the exhibition, the Minister of Culture, Mr. Razhidov, a sculptor of modest talent has two of his own artworks in the show. It reminds me of the fact that when I visited the last time the small gallery in the Ministry of Culture it displayed an exhibition with works of – the Minister. Remember Alek Popov’s description of the visiting sculptor in his Mission London? I am not sure but my strong guess is that it is based on a real person most Bulgarians know…

That even if Mr. Razhidov would be a second Giacometti it would not be appropriate to include his own artworks in any exhibitions sponsored by the Ministry he leads seems to have never crossed his mind. It is called “Conflict of Interest” and borders the territory of outright corruption. He uses his position and taxpayers’ money to increase his popularity and potential market value as an artist. And of course he gets away with it. Also a part of the “Culture” he is promoting.

Conclusion: if you are in Sofia and are interested in Bulgarian art, this exhibition is a must. The collection itself is the by far best in that field in Bulgaria or anywhere else, the result of decades of diligent collecting. (When Lyudmila Zhivkova, the daughter of the dictator Todor Zhivkov was de facto in charge of the collection, it increased considerably – mainly by acquiring fake artworks she was tricked into buying by some clever crooks.) That this extraordinary show is so poorly prepared and presented is a pity and shows again the lack of professionalism that is so typical for many of those people who are politically responsible for Bulgarian Culture. 

Zograf_self

Zahari Zograf, Self-portrait, National Art Gallery Sofia, ca. 1840

The exhibition can be visited at the building of the National Gallery of Foreign Art, Sofia, 19 February Str. No.1, near the Cathedral Alexander Nevski 

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or 
duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Just wondering

The Bulgarian Minister of Culture Vezhdi Razhidov awarded recently an important prize to the so-called historian Bozhidar Dimitrov, an ultra-nationalist propagandist and – according to renowned international historians – scientific crook and impostor with a past in some very dirty business.

Just wondering:

Since when is stealing documents from the Vatican Library, manipulating Bulgarian history in the sense of a chauvinist, ultra-nationalist political agenda, and working decades as a snitch and informer for the Stalinist State Security a reason to be bestowed with the biggest honor in the field of Bulgarian culture, the order „Златен век“ (Golden Age)?

Bozhidar Dimitrov is not a historian but a “chalga historian” – he is known under this name among his colleagues internationally – and the name fits him perfectly.

Once again, Minister Razhidov is besmirching the dignity of all people working in the cultural sphere in Bulgaria and all cultured people there.

Revolting!

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or 
duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

 


18% Gray

Eighteen_Percent_Gray-web_large

When you take photos sometimes, you may know or not know that cameras have a light meter. All light meters including those in every camera must be calibrated to assume a certain percentage of light being reflected from the subject you want to photograph.

Each light meter can be used to determine correct exposure so long as the photographer knows the angle of measurement and knows how to isolate what is being measured. In addition to knowing the area from which the reading is taken, it is also important to know the approximate reflectance of that area. This is the part that can make using a reflected meter difficult, since the meter can’t determine subject reflectance for you and you must mentally calculate it.

Or you use a standardized surrogate subject such as the common Kodak Gray Card, which has a stated reflectance of 18%. Hence the title of this book, which has also a metaphorical meaning, as readers will find out.

Zack, the narrator/protagonist of this book – the fact that he has the same name as the author is a hint that probably a part of this novel is autobiographical – has two serious problems at the beginning of this book: Stella, his wife and the big love of his life has left him (and as we later learn: for good), and as a result of that Zack is in a severe crisis; and furthermore he comes unintentionally into possession of a big bag with marijuana.

What follows is a road trip from California to New York, and also a trip into the past of Zack’s and Stella’s lives. A man tries hard to find the woman he loves and whom he has lost (long before she physically left him); but he also tries to find again his vocation as an artist; and besides, he wants to sell the dope at the East Coast and maybe start a new life with the money.

The book is structured in a very interesting way: there is the story of Zack, after Stella left him, and his journey through the country; there are flashbacks that describe Stella’s and Zack’s story from the moment they met, in Varna, Bulgaria – by coincidence also a very important place in my life – , in the last days of the communist regime, their move to the U.S. as students, their attempts to build a new life – Stella as a painter, Zack as a photographer and after this fails, as a supervisor of test results for a pharmaceutical company -, and how their lives are drifting slowly apart; and there are short conversations between Zack and Stella, all recorded in moments when Zack takes photographs of Stella, and which give a clear indication of how their relationship slowly changes.

All three lines of this story have their own typography, so it is very easy for the reader to follow these permanent switches, which structure the texts into quite short sections. Here and also in the very good dialogues the reader feels that the author is also a prolific screen writer. This novel has a movie-like feel, and it is not surprising that it will be made (or is it already made?) into a movie.

The novel touches on many interesting topics: how do relationships change over time, and what can we do to prevent us from losing “it” – the love and also the purpose of life, which for Zack was first the music (when he was in Bulgaria, he started a career as front man of a punk band), later photography, and finally writing; it is also a novel about emigration and how it affects the identity of those who give up their home country and re-invent themselves somewhere else; it is a book about America (there are excellent descriptions not only about California and New York, but especially about the Mid West, Texas and all the other places Zack is crossing); can money really compensate us for other losses – the answer is obvious…; and a few more.

“I now realize that my American West was not a geographical place, but a sacred territory in my dreams. Perhaps everybody has their own Wild West. From a very young age, I knew with certainty that one day I would live in mine. I’d caress the yellow prairie grass and the wind would kiss my face. When did I lose all that? How did I manage to desecrate my West by replacing it with the plastic version of what I’ve been living in for the last few years of my life? “

I like about the book also that it is obviously in the tradition of the Künstlerroman (artist’s novel); but it reminds me at the same time of American road movies. There are plenty of absurd situations and people in the book, and also a kind of roguish humor which is a good antithesis to Zack’s and Stella’s sad story. I also like the somewhat ambiguous end and the wonderful last sentence:

“We watch the world outside through our reflections.”

A great book, if you ask me.

The English translation by Angela Rodel is flawless and excellent.

By the way, I read the English edition published by the Bulgarian publisher Ciela. For the cover they used a photo by the author (now editor-in-chief at the same publishing house) that fits this book very well.

PS: One – minor – correction: Old Firehand is of course NOT “a fictional native American hero” of several Karl May novels, as a footnote on page 190 informs us. “Hugh, ich habe gesprochen!”

 Karabashliev

 

Zachary Karabashliev: 18% Gray, transl. by Angela Rodel, Open Letter Books, Rochester 2013, Ciela, Sofia 2015

This review is part of Stu’s (Winstonsdad’s Blog) Eastern European Lit month: https://winstonsdad.wordpress.com/2015/03/02/welcome-to-eastern-european-lit-month/

 

 

 

 

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or 
duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content. 

The Judgement

A few days ago, during my last visit in Sofia, I had an opportunity to watch an interesting Bulgarian feature film (co-produced by Germany, Croatia and Macedonia); therefore today a film, not a book review.

Borders are a sad reality for many people; especially for those who want to cross them and can’t – but frequently also for those who protect them or live near a border. It is one of the twisted ironies of recent European history that just when we all thought that with the fall of the Iron Curtain barriers that prevent people from traveling freely (and where you are shot at or even killed just because you want to exercise an elementary human right) are a thing of the past, new obstacles are being erected and sometimes even in the same places where the old borders were.

But now, the direction from which people want to cross to another country is frequently reverse: while the Southern border of Bulgaria to Greece and Turkey was heavily protected in the time of communism in order to prevent people from leaving the Eastern block via the Rhodopi mountains, the same area is now guarded and fenced against refugees from Syria and other Mediterranean and African countries who desperately try to come to Bulgaria and the European Union.

Stephan Komandarev, a Bulgarian film director best known for his adaptation of Ilija Trojanow’s novel Die Welt ist gross und Rettung lauert überall (The World is Big and Salvation Lurks Around the Corner) tells in his new movie The Judgement (Съдилището) the story of a man whose life is virtually destroyed by the border.

Mityo (Assen Blatechki), a widower in his 40s, lives alone with his son, 18-year old Vasko (Ovanes Torosian) in a small village in the Bulgarian Rhodopes, near the Greek and Turkish border. Fanka, Mityo’s wife died after years of illness, and the relationship between father and son is strained for various reasons which become clear while the story unfolds.

The film takes its time to show Mityo, Vesko, and the other villagers in their daily life. The village is poor, and when the local dairy factory for which Mityo is collecting the milk from the local farmers with his cistern truck is closing and leaving him jobless, the situation becomes pretty desperate for him. That the electricity is switched off because of his unpaid bills is a very small problem – but how he is supposed to pay back the mortgage on the small house where he is living with his son which he took years ago to pay for Fanka’s unsuccessful medical treatment, is something about which he has no idea. An attempt to sell his truck fails and when someone turns up to prepare the house to be auctioned off in a few weeks time for the bank, it is obvious that Mityo is in dire straits. Finally he gives in reluctantly to work for a man that everyone knows as The Captain (Miki Manojlovic), since he is a former commanding officer of the border troops in that area during the time of Communism.

The work Mityo has to do is to help to bring illegal immigrants over the mountains to Bulgaria, a work for which he is paid well because it is rather dangerous. Not only because of the danger to be spotted by the border guards, but also because the path through the mountains is rather challenging, especially the area near by a dangerous cliff that is also known as The Judgement.

As the story advances, Vesko finds out that his father was as a young man not only serving in the border troop unit of the Captain, but also that he is hiding a dark secret. Once, in 1988, he killed a young East German couple that tried to flee over the mountains, exactly at the spot called The Judgement.

The movie focuses strongly on the father-son conflict and I found it psychologically very interesting how Mityo tries to come to terms with his past. The Captain forced him at gunpoint to shoot at the refugees and to toss the bodies over the cliff (while the girl was probably still alive). After this traumatic experience, Mityo had a mental breakdown but was saved as he describes it by his future wife Fanka.

Finally, when his son presents him the evidence of his involvement in the killing of the young couple, Mityo reveals everything to his son and it seems a kind of relief for him. When he is going on a last dangerous assignment, things go terribly wrong in the moment when the group (this time with the Captain and also Vesko, who was called for help by his father) arrives at The Judgement cliff.

I liked about the movie that it starts comparatively slow-paced. Although the father-son conflict and later the conflict between Mityo and the Captain are the most important lines of the story, there are also some other credible and interesting characters that add to the flavor of this movie. Vesko develops a close relationship with Maria, a girl in his class. There is also the old doctor, a friend of Mityo who plays a small but somehow important role. There is Kera, a lonely woman living next door to Mityo and his son who tries to get closer to the very distanced Mityo. And there is Zhoro, another mountain guide, who provides the refugees with tea and wafers and who is smart enough to get out of this dangerous business with the Captain in time.

The Captain, Mityo’s nemesis, is a typical product of the times: he was a fanatic in the time of communism who took pride in “defending” his country by shooting those who tried to flee, and now he is a “businessman” with a big brand new car and an impressive fortress of a house. For him, the refugees that he is smuggling across the border are a source of income only. He is without respect for these people he calls contemptuously “garbage” (боклуци), and when the last group reaches The Judgement while fleeing from the border guards, he asks Mityo to throw a sick child down the cliff because it slows down the group too much. But times have changed now, Mityo is not the same person he used to be as a young recruit…

Shooting Stefan Komandarev’s the Judgment Photo BGNES

Actors and dialogues in this movie are excellent (I hope also the translation/dubbing will be very good). You will see also breathtaking panoramas of the Rhodopi mountains, a truly magical place.

The movie asks very interesting questions about – not only – Bulgaria’s past and shows how ordinary people are burdened by it (even the generation that was born after the changes); how to come to terms with personal guilt and how to learn to talk about the most haunting experiences in life with those who are closest to you. A deeply human story that you shouldn’t miss when you have the opportunity to watch it. I can strongly recommend it without reservations.

The Judgement starts in 60 movie theaters in Germany (the biggest number of copies ever for a Bulgarian movie in Germany) under the title The Judgement – Grenze der Hoffnung on April 23. The film will be distributed hopefully also in your country. It was recently also screened on many international film festivals, so chances you can watch it soon are probably not so bad.

I watched the movie in Bulgarian without subtitles – and I had the whole cinema for myself, there were no other people. Quite an interesting experience.

The official website of the film: http://www.thejudgementmovie.bg

© Thomas Hübner and mytwostotinki.com, 2014-5. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content. © photo BGNES


“For good mood”

Most of you know what a fortune cookie is – a cookie with a fortune inside, i.e. a message that predicts a hopefully bright future or at least a positive aspect of the future. “You will make a new friend”, “A surprising journey is waiting for you”, “A lottery win”. or “You will meet the love of your life”, or a similarly harmless message, not to be taken seriously.

As far as I know, this trend comes originally from China and has spread all over the world now. As it happens with such trends, some changes and adaptations have occurred in some parts of the world.

One of these changes is that the fortune can be also a quote by a famous person, an aphorism – preferably funny or philosophical, something that makes you think or smile. Something that enhances your good mood.

The other change that can be observed in many places is that the fortune comes without the cookie. You order a coffee, and it comes with a rolled fortune message.

As a curious person, I usually unfold these fortune messages. Not because I believe in the truth of these fortunes, but because they can tell you sometimes something about the mentality or the culture of the place.

During my last visit in Sofia, I had a coffee with a friend. And – it came with a fortune message:

 

20141028_063858

 

The text reads as follows:

“The bigger the lie, the easier it will be believed.” (Adolf Hitler)

Yes, this is not a joke! Where usually quotes by famous philosophers, spiritual persons, scientists are printed, you have to read the quote of one of the biggest mass murderers in history.

And as if this was not already enough, the fortune message says (below the logo of the company “Happy”, the biggest chain of fast food restaurants in Bulgaria):

“For good mood”

No, “Happy”, I was not at all in a good mood.

Are you just plain stupid, incredibly insensitive, or do you really want to bring your customers “in a good mood” by offering them fortune messages from a mass murderer? Or do you possibly think that this form of marketing is even clever?

In the last case, I bet that your next fortune messages will be like this:

“A man, a problem – no man, no problem.” (Josef Stalin)

“Everything I did, I did for my country.” (Pol Pot)

“You cannot run faster than a bullet.” (Idi Amin)

“Happy” – the inventor of “Genocide marketing”. Shame on you!

 

© Thomas Hübner and mytwostotinki.com, 2014. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.