“A traitor!” The journalist and author Joseph Bornstein left no doubt with regard to his opinion of the former Austrian chancellor Kurt Schuschnigg. Indeed, with friendly but very pointed words, he made it clear in a letter to his friend Bosch that Bosch’s “faith in the good faith in Schuschnigg” is totally wrong. Many Austrian Jews had long placed their hopes in Schuschnigg, who had tried as Chancellor to defend Austria from the influence of National-Socialist Germany. After the sender of this letter, Joseph Bornstein, lost his German citizenship in 1933, he immigrated to Paris. There he very quickly joined the intellectual milieu of other German journalists and authors in exile. He continued his collaboration with Leopold Schwarzschild and was active as editor-in-chief for the intellectual journal “Das neue Tagebuch” (The New Diary).
In August 1938 a new decree had been issued. Jewish people with names that were—in the perspective of the Nazis—not “typically Jewish” were to bear (starting January 1, 1939, the latest) a second given name: “Sara” for women, “Israel” for men. The September issue of Aufbau put the perfidy of this regulation in a nutshell: “If the motives on which this regulation is based were not so abysmally cruel, there would be nothing from its content about which to complain. ‘Israel’ means ‘Fighter for God’ and ‘Sarah’ or ‘Sara’ […] means ‘Princess.’” Not only did the Nazis help themselves to the content of Jewish culture, but they also misused it in order to restrict the private sphere of Jews on a massive scale.
Gusty Bendheim, a Berliner, had never met the American branch of her family. As a 42-year-old divorcee, she had no other choice but to turn to her overseas relatives. She asked these quasi-strangers for help facilitating emigration for herself and her children, Ralph (13) and Margot (17). Gusty was an enterprising sort: by the time she got married to Arthur Bendheim, a businessman from Frankfurt/Main, around 1920, she had established three button stores. After the wedding, Arthur took over management and Gusty became a housewife. In spite of the increasingly alarming anti-Jewish measures taken by the Nazi government, Arthur was not willing to leave. After the couple’s divorce in 1937, Gusty took matters into her own hands. In this August 14th, 1938 letter to her unknown relatives, in addition to her request for help, she states that her former husband is ready to pay the costs of travel for her and their children to the United States.
For a dyed-in-the-wool social democrat like the journalist, translator and writer Maurus (Moritz) Mezei, the changes that quickly took hold in Austria after the country’s unimpeded annexation by Nazi Germany must have been doubly troubling. During the period known as “Red Vienna,” the first-ever period of democratic rule in the city from 1918 to 1934, the Mezei family had moved to the “Karl-Marx-Hof,” a public housing project. Starting in 1938, “non-Aryan” families, including the Mezeis, were threatened with expulsion from the compound. Tenant protections initially remained in place for Jews, but they no longer applied to public housing. On June 10, Mezei had applied for immigration to Switzerland, but the reply, written on July 14, was negative. Only if he was to procure an immigration visa from a country overseas would Swiss immigration authorities reconsider his case and possibly grant temporary asylum.
Despite the patriotism often espoused by German Jews and their manifold contributions to society, the Reichsbürgergesetz (“Reich Citizen Law”) of 1935 officially assigned an inferior status to Jews, declaring them to be mere “nationals” and further segregating them from the rest of the population. Over time, supplementary decrees were issued that provided the exact Nazi definition of what made a person a Jew and forced Jewish public servants into retirement. On June 14, 1938, the third such supplementary decree stipulated that Jewish-owned businesses were to be marked as such.
On May 14, 1938, American moviegoers lined up to see Errol Flynn in his latest swashbuckling adventure produced by Warner Brothers. Flynn’s turn as Robin Hood was especially thrilling thanks to the lush film score by an Austrian Jew whose music was no longer welcome at home. Although a citizen and resident of Austria, composer and conductor Erich Wolfgang Korngold felt the effects of Nazi cultural policy soon after 1933, since he had often worked in Germany. In this climate, he did not have to think twice about Max Reinhardt’s invitation in 1934 to compose the score for his Hollywood production of “A Midsummer Night’s Dream.” Korngold’s symphonic film scores broke new ground and established the typical “Hollywood sound.” In 1937, while on an extensive visit to Vienna to complete the orchestration of his opera “Die Kathrin,” he received an invitation from Warner Brothers to compose the score for “The Adventures of Robin Hood.” This assignment spared him the turmoil of the Anschluss. He returned to the US well before March 12, 1938. This photograph shows what appears to be a recording session for the Robin Hood score. The actor in the photograph is Basil Rathbone, who played Robin Hood’s nemesis, Sir Guy of Gisbourne. Korngold won an Academy Award for his compelling score—his second after “Anthony Adverse” (1937).
Little more than a month after the Nazi takeover of Austria, a cascade of new regulations and actions taken by the new regime leaves little room for optimism. The Jewish Telegraphic Agency reports for April 14 from Vienna that Jews within 50 kilometers of the Czechoslovak border are to be expelled. Nazi commissars will be put in charge of Austrian businesses at the latter’s expense. According to the JTA, in the case of hundreds of Jewish-owned businesses, this provision has already been enforced. Finally, a law has been introduced establishing new procedures for determining the racial status of illegitimate children. The one positive item in this substantial dispatch is the prospect that all Jews currently interned at the Dachau concentration camp will not only be released but will also receive permits to enter Palestine.
After the tribulations of their forced emigration, often accompanied by a loss of status, property, and basic faith in humanity, German Jews might not have been expected to feel particularly nostalgic for their former home. This ad from the Aufbau, the New York-based German-Jewish paper published by the German-Jewish Club, shows that nevertheless, Jewish refugees from Nazi Germany were not necessarily in a hurry to give up their eating habits.
Kibbutz Giv’at Brenner was established in 1928 by young immigrants from Poland and Lithuania who were soon joined by a group from Germany. As in many other kibbutzim, conditions at Giv’at Brenner were initially harsh, causing some members to leave. In the 1930s, due to the absorption of new immigrants, the kibbutz grew. Over time, a thriving agriculture and various industrial enterprises, including a cannery and a factory for irrigation equipment developed. The picture presented here shows the carpentry shop of the kibbutz in 1938. A unique feature was Beit Yesha, a vegetarian convalescent home established in the mid thirties—the first of its kind in a kibbutz.
The January issue of the Berlin Kulturbund magazine conveys a sense of normalcy—local businesses advertise merchandise and services like cosmetics, women’s apparel and car repairs, while the Kulturbund schedule offers Eugene Scribe’s “The Ladies’ Battle.” The comedy must have provided a welcome respite from the worrisome situation.