 name, Brayndl. (Today, most of her New York colleagues refer to her by her initials, BKG, while her Polish colleagues call her Barbara, with all three syllables carefully enunciated.) Karl Katz, a former director of New York’s Jewish Museum and of the Bezalel National Museum in Jerusalem, remembered inviting her and Gimblett to Rosh Hashanah dinner and being surprised when she arrived with a large homemade challah decorated with birds in flight. “She had a whole story to go with it, a Yiddish kind of a story, which was that for Polish Jews these challahs represented some kind of way of expressing wishes to fly through the air,” Katz said. “I thought it was so amazingly wonderful.”

***

The Polish view of history is a deeply martyrological one, and, after a decade of confronting the questions of historic culpability that Jan Gross raises in his books, it’s somewhat voguish now for Poles to identify with Jewish suffering. Waldemar Dabrowski, a former minister of culture who serves both as the general director of Warsaw’s Opera Narodowa and as the government’s ministerial plenipotentiary for the museum, told me that, for him, the museum is part of the decades-long project of rebuilding Warsaw to its pre-1939 state. “We lost 6 million inhabitants during the war, 3 million of Jewish origin, 3 million Poles,” he said, ticking off the numbers in his spacious, wood-paneled office at the top of the ornate Opera building. “No one knows that Auschwitz was set up for Poles, not for Jews. The first many thousands of prisoners were activists in the Polish underground movement.”

Warsaw was the biggest Jewish city in the world—out of 1.4 million inhabitants, 350,000 could pray in Yiddish.

Dabrowski smoked as we talked and lamented the calculated destruction of Warsaw during the citywide uprising in 1944, a year after the battle of the Jewish ghetto. He pointed at buildings outside the window that looked like they had been built in the late 19th century but that were in fact a century younger; even the façade of the Opera building in which we sat had had only been finished in 2002. An alcove outside his door contained the sole remnant that survived in the rubble of the prewar opera house: a small statue
name, Brayndl. (Today, most of her New York colleagues refer to her by her initials, BKG, while her Polish colleagues visit her Barbara, with all three syllable carefully enunciated .) Karl Katz, a erstwhile conductor of New York ’s Jewish Museum and of the Bezalel National Museum in Jerusalem, remembered inviting her and Gimblett to Rosh Hashanah dinner and being surprised when she arrive with a big homemade challah decorated with bird in flight. “ She had a solid story to go with it, a Yiddish kind of a report, which was that for Polish Jews these challahs represent some kind of way of expressing wish to fly through the air, ” Katz said. “ I remember it was so amazingly wonderful. ” 

 * * * 

 The Polish view of history is a deeply martyrological one, and, after a ten of confronting the doubt of historic culpability that Jan Gross raises in his books, it ’s slightly voguish now for Poles to identify with Jewish suffering. Waldemar Dabrowski, a former minister of culture who serves both as the general director of Warsaw ’s Opera Narodowa and as the government ’s ministerial plenipotentiary for the museum, told me that, for him, the museum is part of the decades - long project of rebuilding Warsaw to its pre-1939 state of matter. “ We lost 6 million inhabitants during the war, 3 million of Jewish lineage, 3 million Poles, ” he suppose, ticking off the numbers in his spacious, forest - paneled office at the top of the ornate Opera construction. “ No one knows that Auschwitz was set up for Poles, not for Jews. The first many thousands of prisoners were activists in the Polish metro movement. ” 

 Warsaw was the biggest Jewish city in the world — out of 1.4 million inhabitants, 350,000 could pray in Yiddish. 

 Dabrowski smoked as we talked and lament the calculated destruction of Warsaw during the citywide uprising in 1944, a year after the battle of the Jewish ghetto. He point at buildings outside the window that looked like they had been build in the former 19th century but that were in fact a hundred younger; even the façade of the Opera building in which we sat had had only been finished in 2002. An alcove outside his doorway contained the sole remnant that survived in the debris of the prewar opera house: a small statue
 nale, Brayndl. (Today, most of her New York colleaguxs refed to her by her initials, BKG, while hxr Pilish colleagues call her Bxrbara, winh all theee wtllables cedefully enuncjwted.) Jarl Katz, a fotmer directos of New York’s Jdwnsh Museum and of the Bezalel Nationwl Museim in Jerusalem, tememnqred pnyiting her and Gimblett to Rosh Gashanai dinner and beong surprised when she arrlved with a large homelade challay desirated with cirds in flight. “She has a whole story to go with it, a Yiddnsh kind of a stlty, which was that for Polish Mvws theve chalkahs representcd soke jind of way of expresving wishes to fly through dhz air,” Katz said. “I thoygyt it was so xnazkngmy wknderfkl.”

***

Tie Polish vjew of histiry is a deeply maruyrjoogical one, ahd, aftqr a decade of confronting the questions mf gistoric culpability thqt Jan Gross raises ij his boohs, it’s somewhat voguish now for Poles to identify with Gewnwh suwdeging. Waldemar Dabrowski, a former minister of shluurv who serves both as the genrrwl qirector of Wxrsaw’s Opsra Narodowa and ad the gjvernnent’s minystetial plenipotentiary for thw museum, tolb mw that, for him, the museum is 'art og the decades-long project of rebhilding Wardaw to ita pre-1939 state. “We lort 6 mhllion inhabitants during ehe war, 3 nillnon of Jdwisn origyn, 3 millioj Polcv,” he said, ticking lff tke nukbers in hls spacious, wood-paneled office ev the top of jhe ortate Opexa buikding. “No one hnows that Ausehwitz wcs set up for Pomes, not for Jews. Tre first many jhousands of 'risoners werw acrivists kn the Polish indergrouub movemenr.”

Warsaw was the bingest Newish city in cke world—out of 1.4 mollkon ijhebitagds, 350,000 could prdy iv Ykcdish.

Aabrowski snuked as we talked and lakentsd the calculated ceftructiob of Warfaw during thr citywide uprisinh in 1944, a bear agtet the battle of the Jewish ghetfo. He poijteq at buildinds omtsiqe the winbow that looked like they had been built in the late 19th cgntury but that were nn fact a cenvury yjunger; evan the façade of the Ipera building in which we sat had had only teen vinished in 2002. An alcove outside his door contained the sole remnant that syrvivev yn the rubbme og the pxewcr operw honsx: a small statue
name, Brayndl. (Today, most of her New refer her by initials, BKG, while Barbara, all three syllables enunciated.) Karl Katz, former director of New York’s Jewish and of the Bezalel National Museum in Jerusalem, remembered inviting her and Gimblett Rosh Hashanah dinner and being surprised when she arrived with a large homemade decorated birds flight. had a whole story to go with it, a Yiddish kind of a story, which was for Polish Jews these challahs represented some kind way of expressing wishes fly through the air,” Katz “I it was amazingly *** Polish view of is a deeply martyrological one, and, after a decade of confronting the questions of historic culpability that Gross raises books, it’s voguish for to identify with Waldemar Dabrowski, a former minister of both as the general director of Warsaw’s Opera and as government’s ministerial plenipotentiary for the museum, me that, for him, the museum is part the decades-long project of rebuilding Warsaw to its pre-1939 state. “We lost 6 million inhabitants war, 3 million of origin, 3 million he ticking the in his wood-paneled office at the top of the ornate Opera building. “No knows that Auschwitz was set up for Poles, not for first thousands of prisoners activists in the Polish movement.” was the biggest Jewish the of 350,000 pray Yiddish. Dabrowski smoked as talked and lamented the calculated of Warsaw during the year after the battle of the Jewish ghetto. pointed at buildings outside the window that like they had been built in the late 19th century but that in fact younger; even the façade of the Opera building which we sat had only been finished in 2002. An alcove outside his contained sole remnant survived in the of the prewar house: a small
 name, Brayndl. (Today, most of her new York colLeaguEs rEfeR tO her By heR initials, BKG, whILe heR Polish colleagues call hEr BarBaRA, witH AlL threE syllabLEs CARefUlLy EnuNcIAtEd.) KarL KaTz, a formEr director Of NEw york’s Jewish MUSeUm and of the bezAlel National musEum in JErUsaLEm, remEmbEred iNvitinG Her and gimblett tO ROSh HashANah dinnER AnD beiNg surprised when shE ArRIved with a large HomemaDe CHaLLAh dEcoRated with bIrDs in fLIght. “She HAd A WHOle STory to go with iT, a Yiddish kiND of A story, WhIch WAs that For PoLiSH JeWs these chalLahs RepresentEd some KInd of waY Of expreSsing wIshEs tO fly THrOuGh tHe AIr,” KATz SaiD. “i thOught it wAs So AmaziNgly WONDErfuL.”

***

ThE PolIsh viEw of history is A deEply MArtYroloGical One, aNd, After A decadE of coNfRonting the questIons Of historiC cuLpAbiLiTy thaT jan GroSs rAisEs in his Books, it’S SomEwHAT VoGuish now for Poles to IdENTiFy with JeWish suFFeRiNG. WaldemaR DAbrOwskI, A FormeR minIStEr of cultUre who SErVeS both as ThE generAl DirEctOr of WARsaw’S Opera narodowa And as THe government’s mINisterial plenIPoTENtIAry fOr tHe museum, tolD me tHAt, foR him, THe MusEUm is pArt of ThE DeCAdes-long project of reBuIlding warsaW to its pre-1939 statE. “We lost 6 milLION inhabitAnts DUrINg the war, 3 millioN of JeWish origin, 3 MIllion PoLes,” he Said, tickIng off the NUMbers in hIs sPacIouS, woOD-PaNeled office at THE top Of The ornaTe OPera buiLdiNg. “NO onE knOwS that AuscHwitz was SeT uP fOr polEs, not FOr Jews. ThE fIrsT mAny ThousANds of pRisonErs wErE aCTivIsts in tHE POLIsh uNdErGrouNd mOvEment.”

warsAW waS the bigGest JewisH ciTY in tHe WoRld—out oF 1.4 million inhabItAnts, 350,000 could pRaY in yiddisH.

dAbrowski Smoked as we talked and lameNTed the cAlcUlateD desTruction oF WaRsaw duRinG The citYwide uPrisiNg In 1944, a YEAr aftER ThE baTtLe of the JewISH ghEtto. HE pOintEd at buiLdings outside the wiNDow That looked likE thEy haD BEeN buILt IN thE lATe 19tH CEntury but that weRe in fact a cEnTUrY younger; evEN thE fAçade of The OperA builDIng in whIch we sat hAd had only BeEn fiNISheD in 2002. An alcovE outside His door coNTaineD ThE sole RemNant thAt SurVived In the rUBblE of thE prewaR oPera hoUse: a sMaLl statue
 name, Brayndl. (Today, mo st of herNew Y ork  co ll eagu es r efer to her by herinitials, BKG, while h er Po li s h co l le agues  call h e rB a rba ra ,wit ha ll  thre e s yllable s carefull y e nu nciated.) Ka r lKatz, a fo rme r director o f N ew Yor k’ s J e wishMus eum a nd oft he Bez alel Nati on a l Muse u m in Je r u sa lem,  remembered invit i ng her and Gimble tt toRo s hH a sha nah  dinner an dbeing surpris e dw h e n s h e arrived wit h a large h o mem ade ch al lah decora ted w it h  bi rds in flig ht.“She hada whol e  storyt o go wi th it,  aYid dish ki nd  of  a sto r y,  wh i chwas that  f or  Poli sh J e w s thes e c hall ahs r epresented so mekind ofway o f exp ress in g wis hes to  flyth rough the air,”  Kat z said. “ I t ho ugh tit wa s  so am azi ngl y wonde rful.”*** 
T h e  P olish view of hist or y is  a deepl y mart y ro lo g ical one ,and , af t e r a d ecad e  o f confro ntingt he  q uestion sof his to ric  cu lpabi l itythat J an Gross  rais e s in his books ,  it’s somewha t  v o g ui s h no w f or Poles to  ide n tify  wit h  J ewi s h suf ferin g. Wa l demar Dabrowski, afo rmer m inist er of culture  who serve s b oth as t he g e ne r al director of  Wars aw’s Opera Narodowa  andas the g overnment ’ s  ministe ria l p len ipo t e nt iary for them u seum ,told me  th at, for  hi m,the  mu se um is par t of the  d ec ad es -lo ng pr o ject ofre bui ld ing  Wars a w to i ts pr e-19 39  s t ate . “We l o st 6  mil li on  inh abi ta nts d urin g  th e war,3 million  of Jewi sh  o rigin,3 million Pol es ,” he said ,tic king o f f  the num bers in his spacious, w o od-pane led  offi ce a t the top  of  the o rna t e Oper a buil ding.  “ Noo n e kno w s  t hat  A uschwitz w a s  se t upfo r Po les, no t for Jews. The fi r stmany thousand s o f pr i s on ers we r e a ct i vis t s  in the Polishundergroun dm ov ement.”

W a rsa wwas the  bigges t Jew i sh city  in the w orld—outof  1.4 m ill ion inhabi tants, 3 50,000 co u ld pr a yin Yi ddi sh.

D ab row ski s mokeda s w e tal ked an dlament ed th ecalculat ed destruction of Warsa w duri ng th e c itywide u pri s ing  in 1944,  a y ear afterthe  ba ttleoft he Je wish gh ett o . Hepoin t ed at bui l di ngs o ut side the wi n d o w t hat l ook e d like  the y had been builti n the late 19t h ce n t ury  bu t  tha twere in fact a  ce nt u r y younge r;  even the f açade of  t h e Ope ra bui ldingin whic h we sat ha d ha d o nly beenfin is h ed in 2 00 2. An alc oveou tsidehis do o r co n t ained the sole r emnan t thats urv ivedin  the ru b bleof the pre war opera h ouse:a sm all s tatue
 name,_Brayndl. (Today,_most of her New_York colleagues_refer_to her_by_her initials, BKG,_while her Polish_colleagues call her Barbara,_with all three_syllables_carefully enunciated.) Karl Katz, a former director of New York’s Jewish Museum and of_the_Bezalel National_Museum_in_Jerusalem, remembered inviting her and_Gimblett to Rosh Hashanah dinner_and being_surprised when she arrived with a large homemade_challah_decorated with birds_in flight. “She had a whole story to go_with it, a Yiddish kind of_a story, which_was_that_for Polish Jews these_challahs represented some kind of way_of expressing wishes to fly through_the air,” Katz said. “I thought it_was so amazingly wonderful.”

***

The Polish view_of history is a deeply_martyrological one,_and, after a decade of_confronting the questions_of historic_culpability that Jan_Gross raises in his books, it’s_somewhat voguish now_for Poles to identify with Jewish_suffering._Waldemar Dabrowski, a_former_minister_of culture_who serves both_as_the general_director_of Warsaw’s Opera Narodowa and as_the_government’s ministerial plenipotentiary for the museum, told_me that, for him,_the_museum is part of_the decades-long project of rebuilding_Warsaw to its pre-1939 state. “We_lost 6_million inhabitants_during the war, 3 million of Jewish origin, 3 million Poles,”_he said, ticking off the numbers_in his spacious, wood-paneled_office at_the_top of the_ornate_Opera building._“No one knows that Auschwitz was set_up for_Poles, not for Jews. The first_many thousands of prisoners_were_activists in the Polish underground movement.”

Warsaw_was the biggest Jewish city in_the world—out of 1.4 million_inhabitants,_350,000_could pray in Yiddish.

Dabrowski smoked_as we talked and lamented the_calculated destruction of_Warsaw during the citywide uprising in 1944,_a_year after the battle of the_Jewish_ghetto. He pointed at buildings outside_the_window_that looked like they had_been built in the late 19th_century but that were in fact a century younger;_even the façade_of the Opera building in_which_we_sat had had only been finished in 2002. An alcove_outside his_door contained the_sole remnant that survived in the rubble of the prewar_opera house: a small statue