Whose Auschwitz?

What does the Günter Grass affair tell us about changing German attitudes to the Holocaust?

Günter Grass’s poem “What Must Be Said” was an extraordinary attack on Israel not because of what he said but because of how he said it. Others before him, including many Israelis, have made the substantive criticisms of Israeli policy he made. But Grass not only subtly suggested that Israel was planning a nuclear strike against Iran rather than the other way around, but also implicitly equated Israel with Nazi Germany. In particular, he used the German verb “auslöschen” – which literally means to “extinguish” or “annihilate” but specifically suggests genocide in general and the Holocaust in particular – to describe what Israel planned to do to Iran.

Grass continued this approach in interviews in days following publication of poem – for example by speaking of the “Gleichschaltung” of the German media. The use of such language was an example of a strategy that Dan Diner has called “exonerating projection”. It has a long history on the German left: since the Six-Day War in 1967, the left has frequently implicitly – and sometimes explicitly – equated Israel (as well as the United States and even the Federal Republic itself) with Nazism.

Grass’s attack on Israel has led some to conclude that he is simply an anti-Semite. The Israeli embassy in Berlin immediately compared the poem – which was published just before Passover – to a blood libel. In Germany the columnist Henryk Broder wrote in Die Welt that Grass, who “had always had a problem with Jews”, was “the prototype of the educated anti-Semite” .

However, what the poem and the debate it has provoked are really about is who owns Auschwitz. Implicit in Grass’s poem is the conviction that he and other Germans like him have learned the right lessons from the Nazi past, and conversely that Israel – and those in Germany who support it – have drawn the wrong lessons from it. Israeli critics see this as presumptuous. After all, who is Grass – a former member of the Waffen SS – to lecture them about the right lessons to learn from the Holocaust?

The controversy over Grass’s poem recalls the one that followed the infamous speech that the German writer Martin Walser – a contemporary of Grass – made in Frankfurt in October 1998. Walser’s speech was not about German foreign policy or Germany’s relationship with Israel but about the place of the Holocaust in German public life, but his tone and argument in the poem was similar to that of Grass’s poem. In particular, he spoke of the Holocaust as a Moralkeule, or moral cudgel, that could be used against Germany.

It is no coincidence that it is left-wing figures such as Grass and Walser who are now causing controversy with their views about the right lessons to learn from the Holocaust. It’s precisely because they themselves have struggled so much with the Nazi past (Walser, for example, wrote a famous essay in 1965 called “Our Auschwitz”) that they think they can lecture others – including Israelis – about it in such an aggressive way. They oppose Israel – which they see as a warmongering state or even as a “racial state” – in the name of anti-Nazism.

The really interesting question is to what extent Germans agree with Grass. The immediate reaction to the poem in the German media was universal outrage. But some – especially younger writers such as Jakob Augstein (Walser’s son) – have now begun to publicly defend Grass. There is also a big gap between public opinion and published opinion on this issue: polls suggest that many ordinary Germans agree with Grass that Israel is a bigger threat to world peace than Iran.

Chancellor Angela Merkel is personally committed to Germany’s “special relationship” with Israel – in fact some say she is the most pro-Israeli chancellor in the history of the Federal Republic. In a speech in the Knesset in 2008, she said that “Germany's special historical responsibility for Israel's security” was “part of my country's raison d'état”. But as the Holocaust recedes in significance in Germany, public support for the “special relationship” may be breaking down. An Israeli military strike on Iran, were it to happen, could be a tipping point in German attitudes to the Jewish state.

Günter Grass Photo: Getty Images
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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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