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dnf at page 19

This is not a book for everyone.

It’s not a book with a purpose to simply entertain. There is an abundance of anger, an overwhelming amount of pain, and a great deal of grief. It is extremely dark. However, it is completely understandable and acceptable if one knows what lies behind it.

The writing, assuming the translation is accurate, is of excellent quality.

The storyline and its development are a bit clumsy and at times repetitive, which is the reason for my relatively low ratings.

Some paragraphs are truly impressive and very powerful.

The questioning about God’s existence is particularly touching.

I don’t know what else I could say.

It’s not an easy topic to discuss.

But we shouldn’t forget.

It happened.

It’s no fiction.

This trilogy has been sitting on my to-be-read list for such a long time simply because I was afraid of reading it.

I’m glad that I have finally read all three books this year.

The first one was excellent and heartbreaking.

The second was disappointing and I still don’t quite understand the connection.

This one was very touching, but not in the same way as the first one.

Overall, it has been a journey through a complex and often difficult subject matter.

How can a book told from the perspective of a nihilist, someone who is the very definition of survivor's guilt, be so incredibly moving?

Day, the final book of the Elie Wiesel's Night series, is truly full of gems. I can vividly recall re-reading numerous sentences because they were so profound, so rich with the essence of life. It is astonishing to think that such depth comes from the narrator.

Night was a dark and horrific account, yet it was also deeply moving. Dawn raised serious moral questions not only on a personal level but also on a societal level. With Day, we discover that life persists, even if the survivors of the most unimaginable treatment may not necessarily desire it to.

And one more aspect about all three books is that the Prefaces alone are of inestimable value. They offer unique insights and set the tone for the powerful narratives that follow. The combination of these elements makes the Night series a truly remarkable and unforgettable literary achievement.

The writing was truly profound and beautiful.

However, I simply didn't have a liking for the main character.

I do understand that he is a holocaust survivor, which gives some context to his mindset.

But he was overly obsessed with death and his grandmother.

To the extent that he was constantly comparing everyone to her.

This was not only sickening but also quite disturbing.

There is a particular scene that involves the death of a baby, and a part where he makes a rather inappropriate comment about God wanting to sleep with 12-year-old girls.

These elements really left a sour taste in my mouth and made it difficult for me to fully engage with the story or sympathize with the main character.

Despite the beautiful writing, these aspects detracted significantly from my overall enjoyment of the work.

The Accident, the final volume in the trilogy originally published as such, is a unique blend. It lies between the autobiographical Night and the fictional Dawn. Wiesel draws significantly from his own life events to construct a fictional novel about a Holocaust survivor, who incidentally shares the author's name, grappling with survivor's guilt. The Eliezer in Day has only a superficial connection with the living. He has lost all those he loved and endured unimaginable hardships. Even so, life persists, much to his dismay. When he is hit by a cab and left in a critical condition with every bone on one side of his body broken, he doesn't resist death; in fact, he welcomes it. But he is denied its release. So, we follow his reflections on his relationships through flashbacks leading up to the accident as he slowly recovers from his injuries.

"Suffering pulls us farther away from other human beings. It builds a wall made of cries and contempt to separate us." His life ended in the concentration camps with everyone he loved. How can there be a life of joy and hope after such an experience? His tragic past is what he chooses to wallow in, causing a disconnection to his present life and stunting his ability to get close to others. The most philosophical of the three books in the trilogy, it centers around a somewhat unlikable nihilist of a main character who succumbs to meaningless suffering and is unable to find meaning in life after all he has endured. It was an unflinching, heavy book, but the turn it took at the end made it a worthy, poignant, and realistically ambiguous final chapter in this trilogy of death and rebirth.

—————

My other reviews for the Night trilogy:

1: Night · ★★★★★

2: Dawn · ★★★★

3: Day · ★★★★

Survivor's guilt is a complex and profound theme explored in the short story.

"Day" delves into the harrowing experience of moving on after trauma and genocide. The protagonist has lived through a genocide, but with the loss of everyone he knew and loved, the question of whether he has truly survived or is just existing looms large.

This story doesn't offer an uplifting message or a neat resolution, which is appropriate given its nature. It's a study of a broken man's psyche, both internally and externally. The other characters serve as a reflection of the main character's pain and how it affects those around him.

However, the story can feel a bit repetitive, and being short, it may seem lacking in substance. The main character, understandably, is standoffish and abrasive, which makes it harder for the reader to "get on his side" compared to the main character in "Dawn."

It's important to read the author's foreword after the story. As a general rule, such forewords often contain spoilers. In this case, reading the author's thoughts with the context of the story in mind adds an extra layer of interest.

Overall, "Day" is a thought-provoking exploration of survivor's guilt and the aftermath of trauma, despite its few shortcomings.

Elie Wiesel’s Day (once entitled The Accident), the third and final book in his Night trilogy of memoirs, is truly causing a great deal of clenching in my brain.

After reading Night some two years ago, which was by far the most deeply resonating and heart-breaking of the three books, my entire mindset regarding the suffering and guilt associated with Holocaust survivors has undergone a significant shift.

Witnessing that type of human destruction and atrocity on such an astonishing scale can truly rip the humanity right from a person’s core.

Death, in a sense, becomes life.

This leads us directly to the burning question at the heart of this novel: “Is it ever possible for Holocaust survivors to create new lives for themselves without remembering their old ones?”

In Day, Wiesel offers a brief but poignant glimpse of his life in New York City, many years after the war has ended.

Here, we see the numerous struggles he faces, such as connecting in love, feeling undeserving of life’s gifts and pleasures, being incapable of honesty towards others as well as himself, and the list seems to go on and on.

You simply cannot read two sentences without being constantly reminded of the tragedy that day-to-day life brings.

Wiesel will remind you, constantly and unwaveringly, lest you forget.

The basic premise of the story is this: Wiesel is struck by a cab and critically wounded.

He welcomes death, yet is refused it.

Life, for him, seems simply not worth living, and yet he can’t seem to stop living it.

As he remembers the events leading up to this moment and the time that follows, centered mainly on his “relationship” with Kathleen, a woman he in no way feels he deserves, he philosophizes on the things in his past that make it seemingly impossible for him to move on with life.

Simply put, I did not like this book.

I did not enjoy it.

I did not empathize with the protagonist.

I did not have patience with it.

But there was something about it that did manage to affect me.

Whether it was good or bad, I don't really know.

Essentially, it’s perhaps irrelevant, because I responded to it, and sometimes, that’s all that truly matters.

It may not be enough, but it matters, nonetheless.

Although the book is well-written, and it's natural to understand how his experience during the Holocaust could have hindered his ability to love, his self-pity and self-loathing were just too much for me to endure.

I know this might seem unfair: I’ve read Night, and I should perhaps know better.

But I still couldn’t stop myself from despising him to some extent.

A terrible and painful past is no excuse for treating people poorly.

Period.

Then it suddenly hit me: This is perhaps his intention.

To detach us from him, to push us away, to force us to look at him through eyes of judgment and hatred.

It is how he looks at himself.

It is how he believes others should look at him.

And he does it unapologetically, which surely cannot have been an easy thing to do.

He wants you to hate him, all while knowing his past.

He wants us to see that despite pitying him, we can still find his behavior sickening.

The book is relatively short, which is something of a relief.

109 pages of self-imposed suffering isn't so bad in the grand scheme of things.

The ending will leave you hanging, but at least it is rich with symbolism.

The best character in the book, arriving perhaps too late for my taste, is the voice of reason concerning Wiesel’s suffering.

I would like to think that this person is none other than us, his somewhat irritated readers, having a chance to say what we’ve all been thinking for the last 106 pages.

I’m paraphrasing here, but basically: Get over it.

Those people around you? It's not their fault.

I’m probably going to Hell for my thoughts, but my forced detachment will not let me escape this idea.

I’m going to assume he got the message.

I’ll also admit now that, in all likelihood, I’m probably not objective enough.

Wiesel deserves far more credit than I’m giving him, as far as this particular story goes.

Not an enjoyable read, despite some enlightening moments, so it is not coming recommended.

Do yourself a favor and read Night instead.

It's truly brilliant.

Several CW themes - explore before reading as needed.
3.5-4 rounded up. This work is more engaging than #2 in the story. While #1 is the best, this one serves as a great companion to it.
It is very well written, delving deep into the philosophical aspects of the meaning of life, suffering, and death. Written in the form of a novel, it is partially based on the author's experience.
I particularly loved the bit at the end with the friend and the portrait. The final ending was both surprising and deeply meaningful. It's an ending that I will surely remember.


“In fact, the question has haunted me for a long time: Does life have meaning after Auschwitz? In a universe cursed because it is guilty, is hope still possible? For a young survivor whose knowledge of life and death surpasses that of his elders, wouldn’t suicide be as great a temptation as love or faith?

The dead didn’t need us to be heard. They are less bashful than I. Shame has no hold on them, while I was bashful and ashamed. That’s the way it is: shame tortures not the executioners but their victims. The greatest shame is to have been chosen by destiny. Man prefers to blame himself for all possible sins and crimes rather than come to the conclusion that God is capable of the most flagrant injustice. I still blush every time I think of the way God makes fun of human beings, his favorite toys.

Rivers flow toward the sea, which is never full. Men are swallowed by death, which is never satiated.

Suffering pulls us farther away from other human beings. It builds a wall made of cries and contempt to separate us.

Love that makes everything complicated. While hate simplifies everything. Hatred puts accents on things and beings, and on what separates them. Love erases accents.

I learned that man lives differently, depending on whether he is in a horizontal or vertical position. The shadows on the walls, on the faces, are not the same.

You should know that the dead, because they are no longer free, are no longer able to suffer. Only the living can.

Suffering is given to the living, not to the dead,” he said looking right through me. “It is man’s duty to make it cease, not to increase it. One hour of suffering less is already a victory over fate.

If your suffering splashes others, those around you, those for whom you represent a reason to live, then you must kill it, choke it.

Everything had been said. The pros and the cons. I would choose the living or the dead. Day or night.”

This was my least favorite of this trilogy. The main reason for this was that I was somewhat confused with the timeline. In fact, it's almost all flashbacks, which made it a bit challenging for me to follow at times.

However, it's important to note that this is still a very good book. Despite the confusion with the timeline, the story is engaging and well-written. It provides a unique perspective on the Holocaust, which is an important and often overlooked topic.

As part of a trilogy of 3 distinctly different stories, this book is an important addition to the canon of Holocaust literature. It helps to fill in some of the gaps and provides a more complete picture of this tragic period in history. Overall, while it may not be my favorite of the trilogy, I still highly recommend it to anyone interested in learning more about the Holocaust.

Extremely raw. 'Day' presents a profound exploration of the aftermath of survivors' guilt and PTSD. It offers a harrowing glimpse into the arduous task of grappling with everyday life and emotions after enduring absolute terror. Perhaps it's not simply about the challenge of understanding these aspects, but rather the brutally honest reality of this comprehension. The experience of surviving such trauma can shatter one's perception of the world and oneself. It forces individuals to confront the harsh truth that their lives have been irrevocably changed. The struggle to make sense of the ordinary in the face of such extraordinary events is a complex and often overwhelming journey. 'Day' delves deep into this territory, exposing the raw emotions and the difficult process of coming to terms with a new reality.

Like Dawn, this book is short yet brimming with depth that defies its length.

I knew I'd breeze through it due to my prior experience with Dawn, but I didn't want to rush through without truly soaking up the language and ideas.

However, it's nearly impossible not to read this book quickly. The writing is flawless, and the story is utterly engrossing.

As much as I desired to savor the language, I was equally eager to know what would unfold.

The English title pertains to the accident that befalls Eliezer, the first-person narrator, within the opening chapter of the book.

Yet, the original French title, Le Jour, is far superior for several reasons. One, it links it to Night and Dawn.

Two, the title is thematic rather than plot-based. Three, the original title is subtle and, as Wiesel's Preface in my edition elucidates, ironic.

Renaming it The Accident makes me think of an odd attempt to connect Wiesel to Camus.

Yes, Wiesel does something similar to Camus, but his chosen title has its own significance and purpose.

Eliezer gets struck by a taxi while crossing a bustling intersection in Manhattan. His entire left side is shattered, and he spends ten weeks in the hospital.

Although the accident is the catalyst, it's not what the story is truly \\"about.\\" The story is about a young survivor of the Nazi concentration camps.

He constantly recalls all those lost and feels as if he can't go on because they didn't. Every day, he feels like a tomb for the deceased, a receptacle of memories, nothing more.

How can life hold joy, hope, and possibilities when his life ended at the concentration camps? Eliezer died there and was reborn into death upon leaving.

He is only nominally alive as the essential elements of his existence were left behind and can never be retrieved.

Throughout the narrative, Eliezer reveals to the reader what's happening now, post-accident, but also shows us past events that make his current thoughts comprehensible.

He doesn't disclose what he endured, but he tells us what occurred afterwards. The flashbacks build up to the event, returning to the day before the accident just before the story concludes.

How does the story end? Eliezer drops hints throughout his narrative that the cab driver didn't intend to hit him, but he may not have been trying to avoid it.

His doctor reveals that during surgery, Eliezer didn't offer any assistance. The doctor had to fight for his life for him.

It's not a shock that someone already dead didn't leap out of the way of the oncoming cab. But he survives. Will he attempt suicide again?

To me, the ending is ambiguous, but perhaps other readers interpret it differently. I understand Eliezer's desire to be with the lost rather than continue living for others.

He has a girlfriend, but he can't love her. He can't let go of his past and be with her in the present. He can't live for her, and he doesn't want to live for himself.

I believe Eliezer will attempt suicide again, as he promises his Grandmother. The narrative leaves Eliezer and the reader with ashes, a startling and disturbing image when we consider concentration camps but also a telling metaphor.

What's most tragic about this book is that, according to the Preface, this happened to survivors all too frequently.

They didn't know how to move forward, and the world forgot them even as they would never forget. They \\"slip[ped] quietly into death,\\" unable or unwilling to \\"rage, rage, against the dying of the light\\" as Dylan Thomas implores in his famous poem.

Wiesel does an outstanding job of conveying the loss, loneliness, sorrow, suffering, anguish, and despair. This book is intense yet beautiful in its unrestrained portrayal of truth.

Orpheus \\"sang of the pity of life and the secret of how to bear it.\\" I see this mirrored in most of the books I read.

The pity and the secret vary, but there's always an acknowledgment of life's brutality and then an answer. In this book, the pity is life itself, and the bearing of that knowledge is the secret.

Ели Визел - "Денят", изд. "My Book" 2021, прев. Калоян Праматаров

I read this book. And, to be honest, I closed it with many special feelings. Among them, relief prevailed.

Perhaps you will wonder why. I can answer right away, although the answer will not be short.

Because this book became too personal to me. Because I had the feeling that the hero in it reveals his soul - in the most obvious, painful way for both him and the reader. Because if there is an autobiographical element in it, it takes an enormous amount of spiritual strength and desperation, insane courage to reveal oneself like this. And this revelation is so frank, so complete, that at one moment I felt that I had no right to read this book. I had written that "Нощта" is a very personal and difficult book - but this one is even more personal.

One of the hardest things in this book was the hero's realization that suffering, our personal suffering, actually hurts and burdens those closest to us. They look at it as a personal obstacle, as something that can be removed, "cured", abandoned... even forgotten. And they think that after all this is "over", it hardly costs - it doesn't deserve - to be remembered. Without realizing that this past has shaped us.

The novel - and, to be honest, it's hard for me to accept this book as a novel - has a special time frame. It starts with one event, which turns out to be crucial because it will lead to memories, reflections, inner struggles, realizations of many things - and then goes back to trace the things that led to this event. And what I felt throughout was misunderstanding. The misunderstanding of Катлийн, the misunderstanding of all those who have not gone through the hell of war and the camps, who do not know and do not understand the guilt of the survivor. The misunderstanding, the present as impossible promises, the impossibility to truly explain what has been experienced - for me these were the things that made this book in some respects more influential and powerful than "Нощта".

There was one phrase that was engraved in my consciousness: "Suffering distances the human being from those similar to him." Only now do I realize how incredibly true this is. Because although you can describe the physical sensations caused by suffering, there is no way to clearly and truthfully describe its reflection and consequences. And sometimes suffering hurts others - because when a person suffers, he changes and shows a different essence from his usual one. And yet somewhere there - "The person who has suffered more and in different ways than others must live aside from them. Alone. Far from any organized existence. He pollutes the air, makes it impossible to breathe..."

So cruel and yet so painfully true.

And a person wants, needs to be among people. But when he has experienced great suffering, others perceive this suffering as contagious. And they distance themselves. Out of fear. So as not to be infected themselves.

Before reading the summary on the cover, I thought that "Денят" would be the optimistic ending of a story filled with trials. Now, closing the book, I wouldn't call it exactly that, but I wouldn't call it "pessimistic" either. It is rather the balance of a life in which there has been everything, all kinds of events and feelings, and some have been more than others. Balance and - again - realization that some dead cannot be buried, and some things should not be forgotten - even if this hurts those around us. The conclusions have been drawn, the day has come. Sometimes bright and clear, sometimes stormy, but still, after the dark night and the restless dawn - day. The brightest day.