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On Thursday night, [Siegmar Silber] and other Holocaust survivors shared their stories of childhood in hiding and in sanctuary with an audience of 200 at William Paterson University's David and Lorraine Cheng Library. Through Kindertransport, Jewish groups evacuated children from Germany, Austria, Poland, and Czechoslovakia in the lead up to World War II. As persecution increased, many Jews had no place to go as other countries barred them, fearing a massive influx of refugees. On Nov. 9, 1938, violence escalated as Nazi-organized mobs beat and arrested Jews, and destroyed their synagogues and businesses. The date became known as Kristallnacht, or Night of the Broken Glass. 1 - COLOR PHOTO - TARIQ ZEHAWI / STAFF PHOTOGRAPHER - [Ed Lessing], who fled the Nazis as a teenager and posed as a Christian in Holland, holding a photo of his mother in her prison camp uniform.; 2 - PHOTO - TARIQ ZEHAWI / STAFF PHOTOGRAPHER - When he was 3 years old, Siegmar Silber was separated from his parents during the Holocaust and evacuated to England, believing the family would be reunited after the war. His parents did not survive. Silber, now 67, came to the United States after the war and has lived most of his life in Paterson.

Sutherland had been one of the very last to bail out as, disconnected, he had been jettisoning any loose equipment to lighten the plane and had not heard the order to bail out. Knight was surprised when Sutherland poked his head up into the cockpit and asked: \"What's happening?\" Knight, surprised, immediately ordered Sutherland to bail. Knight stayed at the controls and probably attempted a belly crash landing. The plane came down, still circling left into a field near the Dutch village of Den Ham but suddenly hit a raised ditch, catapulting Knight through the cockpit window, killing him. His body was found by sympathetic Dutch citizens near the plane. Sutherland's plans called for him to travel by train with a courier to Rotterdam, then Paris, then on to Toulouse and to gathering places near the Pyrenees Mountains where Sutherland would connect with Basque guides to take them up and over the precarious Pyrenees \"freedom trail\" at night. Some would plunge to their deaths in the darkness. [PAT MCDONALD] Photo / [Fred Sutherland] and Margaret Sutherland today - 70 years married; Photograph Taken By Lou Van Tigalen / a lifetime well lived.; Photo Courtesy Of Fred Sutherland / A photograph taken in the woods by the hut in Holland the day before Fred Sutherland and Sid \"Hobie\" Hobday embarked on their escape to Spain. Herman Munningghoff (left), Theo Munnignghoff, Fred Sutherland, At Van Noord, Sid \" Hobie\" Hobday and Jaap van Breukelen, school principal and leader of the partisans who monitored the hut and convent.; / [Ed Lessing], the young Jewish teen who survived the war, found his family including his mom, who was the courier who saved the occupants of the hut. She was released from Bergen Belsn near death. He still corresponds with Sutherland and has visited him twice.;;

From the late 1960s through to the present, black women such as Maya Angelou, Toni Cade Bambara, Ntozake Shange, Gayle Jones, Alice Walker, Octavia Butler, Toni Morrison, Adrienne Kennedy, Bebe Campbell, Phyllis Alesia Perry, and Gloria Naylor wrote novels, plays, poems, and short stories featuring mad black women and girls. These texts are situated within a larger constellation of literary representations of madness in the latter half of the 20th century: the Black Power and Black Arts movements in writers like Amiri Baraka and Ed Bullins; the feminist movement and confessional writers such as Sylvia Plath and Doris Lessing; anti-war literature in the form of texts such as Howl and Catch 22; and the anti-psychiatry/anti-conformity movements in texts such as One Who Flew Over the Cuckoo’s Nest. In the context of this mad 20th century (where the state-sanctioned madness of the two World Wars characterized the first half), what does black women writing on madness “mean.” Why do many of what Hortense Spillers characterizes as sporadic forays into the “staging of the mental theater as an articulate structure of critical inquiries into the ‘souls of black folk” emerge during this period to focus on madness? In other words, how and why do literary representations of madness—traditionally the province of those barely recognized and treated as human—come to function in the struggle for black women’s liberation in the shifting political, social, and psychological landscapes of the late 20th and early 21st century? These literary depictions of madness proliferate as madness becomes increasingly available, as a concept, to countercultural/ revolutionary narratives after (1) the world wars complicated the relationship between madness and embodiment, (2) the end of de jure segregation in the South and the recognition(s) of the Civil Rights movement’s limited capacity to resurrect the socially dead, and (3) the broader appeal of “social”—i.e. non-ontological—causes of mental illness. Black women found themselves between a mainstream feminist movement that claimed liberation through reproductive freedom in the form of birth control and the capacity to achieve beyond the domestic sphere, various black power movements that claimed liberation through the construction of black patriarchy, black motherhood, and containment in the private sphere, and pathologizing state discourses that claimed that black women’s “strength” deformed their families and sons while the state itself policed their reproduction through welfare mandates, forced sterilization etc. I argue that black women’s literature deploys madness to construct alternative logics of subjectivity that are traditionally associated with unreason. Rather than locating it as an endpoint in an epistemological mismatch between an oppressive world and the oppressed individual (with which those with a single dimension of oppression, like some black men and some white women, could ultimately await/ agitate for redress through incorporation by liberal progress), madness is frequently taken up in black women’s texts to articulate alternate subjectivities distinct from what Sylvia Wynter calls “Man” by deconstructing the boundaries between reason and unreason (sanity and madness).

A reader sent in some feedback to last week's column, contained in an e-mail with a subject line that said \"tsk. . .tsk. . .tsk\". He took issue with my identifying writer Doug Underhill as being of \"the Miramichi.\" The reader suggests that I \"should have said\" Mr. Underhill is \"from Miramichi\". After all, he noted, I wouldn't say \"Norbert Cunningham from the Moncton\". And He's right, by golly. Not anymore! I'd say me of the Petitcodiac. But never mind that wee detail. First, the age of a writer or speaker is sometimes revealed by the language they use. If Ukraine is now an independent nation and an entity with that single name, no \"the\" in front of it, then so be it. But for most of my life and that of anyone my age or older, it was always \"the Ukraine,\" and that's because it was a region of the Soviet Union. We say \"the Maritimes\" and quite properly. And old habits are hard to break. The same applies to the Miramichi. The Miramichi has always been a distinct region within New Brunswick and everybody called it \"the Miramichi.\" Where you from? The Miramichi! I even hear that often today, and it is proper usage. If one wanted to be more specific in the old days, one said Newcastle, Chatham, Nelson or whatever community, all of which are on (if speaking of the River) or in (if speaking of the region) the Miramichi. Doug Underhill is from (or of) the Miramichi. No doubt about it! I make no apologies, even if more specifically he is also from Miramichi (city proper, a new entity).

Zadie Smith recently boasted that the three-year-old Willesden Herald short story prize, over which she was judge and jury, would courageously not be awarding this year's prize because all the entries stunk. She also declared her disgust with book prizes, saying most of them a) wouldn't make such a courageous decision and b) they are only 'nominally about literature.' Given this anti-book-award attitude, what should Smith do with the $125,000 or so she's earned from winning the Whitbread First Novel Award 2000, the Guardian First Book Award, the Commonwealth Writers First Book Prize, the Betty Trask Award, the James Tait Black Memorial Prize for Fiction and the Orange Prize for Fiction? b) A graphic novel version of the book; a hardback children's version; a soft-cover children's version; a hardcover children's version with pictures; a softcover children's version without pictures; an adult version with purple type; a kid's version with red type; a ... Zadie Smith recently boasted that the three-year-old Willesden Herald short story prize, over which she was judge and jury, would courageously not be awarding this year's prize because all the entries stunk. She also declared her disgust with book prizes, saying most of them a) wouldn't make such a courageous decision and b) they are only 'nominally about literature.' Given this anti-book-award attitude, what should Smith do with the $125,000 or so she's earned from winning the Whitbread First Novel Award 2000, the Guardian First Book Award, the Commonwealth Writers First Book Prize, the Betty Trask Award, the James Tait Black Memorial Prize for Fiction and the Orange Prize for Fiction?