A Fifty-Year Silence: Love, War, and a Ruined House in France Read online

  Copyright © 2015 by Miranda Richmond Mouillot

  All rights reserved.

  Published in the United States by Crown Publishers, an imprint of the Crown Publishing Group, a division of Random House LLC, a Penguin Random House Company, New York.

  www.crownpublishing.com

  CROWN is a registered trademark and the Crown colophon is a trademark of Random House LLC.

  Library of Congress Cataloging-in-Publication Data

  Richmond Mouillot, Miranda.

  A Fifty-year silence : love, war, and a ruined house in France / Miranda Richmond Mouillot. —First edition.

  pages cm

  1. Richmond Mouillot, Miranda. 2. Richmond Mouillot, Miranda—Family. 3. Richmond Mouillot, Miranda—Travel—France. 4. Jews—United States—Biography. 5. Jews—France—Biography. 6. Grandparents—Biography. 7. Holocaust survivors—Biography. 8. Divorced people—Biography. 9. Holocaust, Jewish (1939–1945)—France. 10. World War, 1939–1945—France. I. Title. II. Title: 50-year silence.

  E184.37.R53A3 2012

  940.53′18092—dc23

  [B] 2014015315

  ISBN 978-0-8041-4064-5

  eBook ISBN 978-0-8041-4065-2

  Jacket and interior photographs are courtesy of the author

  Maps by Meredith Hamilton

  Jacket design by Elena Giavaldi

  Lettering on the jacket by John Stevens

  v3.1

  This book is for Anna

  Contents

  Cover

  Title Page

  Copyright

  Dedication

  Epigraph

  Author’s Note

  Timeline

  Maps

  Preface

  Part I

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Chapter Five

  Chapter Six

  Chapter Seven

  Part II

  Chapter Eight

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Part III

  Chapter Fifteen

  Chapter Sixteen

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Chapter Twenty

  Chapter Twenty-one

  Acknowledgments

  A Note on Sources

  About the Author

  What do you think? Do you also believe that what gives our lives their meaning is the passion that suddenly invades us heart, soul, and body, and burns in us forever, no matter what else happens in our lives?

  —SANDOR MARAI, Embers

  (translated from the Hungarian by Carol Brown Janeway)

  AUTHOR’S NOTE

  A Fifty-Year Silence is a true story, but it is a work of memory, not a work of history. I relied on historical sources—primary, secondary, and historiographical—in the writing of it, but for the most part I based it on conversations and letters with my grandparents and on my own memories of and reflections about them. I have done my best to verify these memories and reflections by checking them against those of others and against historical documents.

  As I dramatized key scenes from my grandparents’ lives in the pages of this book, I sought to maintain the vertiginous sense of poetry that their silence provoked in my own life. In so doing, I have tried to be as faithful as possible both to their recollections and to the historical facts that informed those moments. Any inaccuracies I may have unwittingly introduced are due to the inherent difficulties of writing about a subject no one is willing to discuss.

  A Fifty-Year Silence seeks to confront and illuminate a shadow that haunts every family: the past, which is at once sharply present and maddeningly vague. Indeed, I originally intended to call the book Traveling Shadows, after a line in Speak, Memory, in which Vladimir Nabokov compares the act of reconstructing the past to studying shadows on a wall. Shadow watching is a solitary and subjective practice, and my observations of my grandparents’ shadows inevitably have been tinged by my own nature and experience; they cannot hope to be exact transcriptions of the people who cast them. As my grandmother said when I finally showed her a draft of this manuscript, “Mirandali, it’s so long ago now, who can remember?” Grandma, all I can say is, I certainly have tried.

  PREFACE

  In the ten years it took to write everything down, my grandmother died and my grandfather lost his mind. I got married and had a child. I abandoned my intended career, moved to another country, and spent my savings. And the house, which may or may not have started it all, continued to fall down.

  But still I was afraid to begin, for this is a story about a silence, and how do you break a silence that is not your own?

  I turned the question over in my head for what felt like an eternity. I wondered if I had any business—any right, even—to speak of it. And yet, unbroken, it was a burden, one that grew with every passing year. What would I do if I never succeeded in laying it down? Finally, I gave up and prayed.

  Please, could you give me a hint?

  The next day my daughter and I went for a walk behind our hamlet, in the shadow of Alba’s castle, along the path that skirts the Escoutay River. It was the path I looked down the first time I saw this place, and thought, This is my home. The path my grandmother looked down in 1948, the first time she saw this place, and thought, Someday this will be someone’s home.

  And there, among the dandelions and primroses, was what the French would call a clin d’oeil—a wink. It was a clump of four-leaf clovers, a whole posy of them. Finding four-leaf clovers is something my grandmother passed down to me, along with ungraceful ankles and the ability to read fortunes with cards. We find them wherever we go, whenever we most need them. No doubt these days my grandmother, who always preferred agitation to tranquility, has taken up some position as parliamentary delegate or shop steward in the big social movement in the sky, so when I sent that prayer up, she didn’t even bother to pass my petition along. She just made her signature noise, halfway between a snort and a sigh, the sound she always made right before she stepped in and sorted the matter herself, and rippled a message to me through the clover. Knowing her so well for so long, I understood it as clearly as if she had written it out for me in the mud of the riverbank: “Stop putzing around and begin at the beginning.”

  So here I go.

  PART I

  The hamlet of La Roche and the Escoutay River, with Alba’s castle in the background, circa 1960.

  CHAPTER ONE

  WHEN I WAS BORN, MY GRANDMOTHER TIED A red ribbon around my left wrist to ward off the evil eye. She knew what was ahead of me and what was behind me, and though she was a great believer in luck and the hazards of fortune, she wasn’t about to take any chances on me, her only grandchild.

  My grandmother had fled or lost countless homes in her lifetime, and though she never fully resigned herself to living in America, she was determined to die in her house in Pearl River, New York, to which she had retired from her job as a supervising psychiatrist at Rockland State Mental Hospital. She would tell me this with some frequency, because my grandmother viewed death as an interesting dance step she’d eventually get around to learning, or perhaps a pen pal she’d come awfully close to meeting several times—no doubt this intrigued equanimity was part of the reason she managed to live so long.

  My grandmother told me many things over the years, in a jumbled and constant flow of speech. I hung on
to her every sentence, fascinated and admiring. Each word she said was like a vivid, tangible object to me, a bright buoy, a bloodred lifeline:

  MY Godt

  musckle

  VEG-eh-tayble

  sourrwvive

  That was her favorite word. She rolled it out of her mouth with Carpathian verve, inflected with Austro-Hungarian German and French.

  You’re like me, Mirandali, she’d say. You’ll sourrwvive.

  This was immensely comforting, because outside the reassuring confines of my grandmother’s presence, I was never too sure about that.

  When Grandma wasn’t around, my life was bafflingly full of terror. I say bafflingly because my childhood, albeit eccentric, was outwardly perfectly secure: my parents divorced when I was small, but they’d done so amicably, and each remarried a stepparent I loved as fiercely as if they had all given birth to me. There I was, a nice little girl with two big front yards, climbing apple trees and peeling Elmer’s glue off my hands at recess with my friends, except for the moments when my comfortably ordinary world incomprehensibly fell to pieces.

  Take the day my friend Erin and I locked her little brother in the bathroom, and Erin began belting out a loud rendition of “The Farmer in the Dell” so her parents wouldn’t hear him hollering for us to let him out: one minute I was singing along with her, and the next I was clutching Erin’s arm for dear life, as if she might pull me out from under the avalanche of fear now suffocating me. “Stop,” I begged her. “We have to stop. They played music to drown out the screams of the children when they were killing them.” Years later Erin recalled that she’d been so upset by what I’d said that she’d run crying to her father.

  “What did he say?” I asked her.

  “He told me you came from a family of Holocaust survivors with a lot of bad memories to cope with.”

  All I could think was, I wish someone had told me that.

  With the clumsy logic of a small child, I tried to protect myself from these episodes by constructing scenes of perfect domesticity in which everything was ordered and beautiful: careful dioramas I fitted into Kleenex boxes or arranged on the shelf beside my bed, elaborate habitats I squirreled away in hideouts behind the bushes of our front walk or tucked under my mother’s desk. I would spend hours imagining myself away from the world and into these fictitious universes. If you had asked me, as a child, what I wanted to do when I grew up, I would have told you a career—ballerina, scientist, senator—but what I really wanted was my own home, a place to keep me safe from the lurking menace of destruction, the horrible crumbling feeling I knew was never far-off.

  The habitats I created were of no use at night. I kept my shoes near the front door, so I could grab them quickly if we had to escape in a hurry, but then I’d lie awake and worry we’d have to use the back door instead. Biding my fearful time until I fell asleep, I would calculate how quickly I could jump out of bed and dress and count the places I might hide. I wished I were grown up and more graceful; I believed I was resourceful enough, but not tall enough, to survive. I grieved in advance for the loss of my cozy home with the books on the shelves and the bright bedspread, brush and comb on the dresser, fire in the woodstove, food in the fridge.

  I would call out for my mother to come sit with me, hoping she could keep my nameless fear at bay, and pepper her with questions.

  “Could someone steal our house?”

  My mother always took me seriously, and she replied to my questions honestly, which meant her answers were rarely as reassuring as I wanted them to be. “No,” she would say. “Not usually.”

  “But sometimes?”

  “Well, if something happened.” There would be a small pause as she considered what she would and would not explain. “For example, if you had to go away for a long time, someone could move in, or steal the papers saying you owned it, or make new ones saying it was theirs.”

  “What if you came back?” I’d press.

  “Well, you would have to prove that the house really was yours.”

  “How could you do that?”

  “Well, you could go to court, if the government were still intact.”

  There was also the question of fire. What if someone burned our house down?

  “That’s not very likely.” Her calm, dry voice was silent another moment in the dark room. “Really. It’s very unlikely.”

  But no matter how many times she reassured me with rational considerations of likelihood and risk (no one in our household smoked; we didn’t have a furnace; we owned three fire extinguishers), my mother could not give me the gift of certainty that every child craves. What I longed to hear was That will never happen. But how could she say that? In our family, everyone had lost a home. The unspoken question that nettled me at night was not whether such a thing could happen but how many homes you could lose in a lifetime.

  In my dreams, when sleep finally came, I’d pack quickly for my flight. Only the essentials. Coat, matches, pocketknife. I’d get bogged down as I tried to plan ahead, to think of all the things I would lack: change of underwear, soap, raincoat, antiseptic ointment, adhesive bandages, toilet paper, candles, shoelaces, string, a sweater, powdered milk, wool socks, long johns, tarp, hat, scissors. Pots and pans. A hammer. Stamps. Wallet. Photographs. Some sort of container for holding water. Rubber bands. Gloves, not mittens. A sleeping bag. Salt. Sugar. Towel. Needle and thread.

  All the dreams were the same, except for the ones where they got me before I had time to pack. Sometimes I’d end up in a train, occasionally they’d shoot me right away, and always, afterward, I’d wake to a world drained of color, thick with a desolation so familiar I never even thought to mention it to anyone. I preferred the dreams of flight: in those, my grandmother would come back for me, wrest the excess baggage from my hands, and push me out the door.

  Anna and Miranda in Pearl River, New York, June 1984.

  Grandma and I were so close that when I shut my eyes, I can still count the spots on her aging skin, which reminded me of an almond in its smoothness and color. If I concentrate on my fingers, I can feel her silver hair, which even in her extreme old age was soft as silk and streaked with coal black. I can see her standing before her mirror in a pale pink slip, rubbing face cream on her high cheekbones and into her neck, all the way down to her graceful shoulders, doing “face yoga” to keep away the wrinkles, her gold and turquoise earrings quivering in her ears. They had been in her earlobes since she was eight days old, when her ears were pierced in the Romanian Jewish equivalent of a bris for a girl. I spent so much time looking at those earrings that their existence was more intense, more fully real to me than that of other objects. You could say the same of the way I saw my grandmother. She was so beautiful, even her dentures seemed glamorous, in my favorite shades of seashell pink and pearly white. “Your teeth fall out when you don’t have enough food,” she’d say in a matter-of-fact tone when I admired them in their little cup, secretly hoping she’d lend them to me one day. “So I got mine young. But maybe when you’re very old you can have some, too.”

  My earliest memory was of her, of bouncing on her outstretched leg as she chanted a Romanian Yiddish nursery rhyme: “Pitzili, coucoulou …” Not on her knees but on her outstretched leg—my grandmother was the strongest woman I knew. She taught yoga to a group she called “my old ladies” and had a chin-up bar in the doorway of her bedroom. Lest you think she was some sort of health fanatic, I hasten to add that she also drank a pot of coffee a day and had a secret fondness for Little Debbie cakes. My grandmother’s perfume was one of contradictions: she smelled of Roger & Gallet lavender soap, Weleda iris face cream, and raw garlic. Beneath that, her skin had a floral and slightly metallic scent, which put me in mind of roses and iron playground bars. When I open her papers, I can still smell it, growing fainter with the passage of time.

  Her home in New York was like a ship pulled up onto an unknown shore, a bulwark she’d fitted out against the oddities of America, intensely personal in a way that i
ndicated she knew she was here for the duration and was determined to make the best of her stay. Taste-wise, it was a mishmash: fine textiles; valuable etchings by her artist friend Isaac Friedlander; paintings by her psychiatric patients; furniture salvaged from the curb; rag rugs; giant plastic flowers in a gaudy ceramic umbrella stand from Portugal; and the bits of Judaica and African art that are standard-issue home decor for left-wing Jews of a certain age. Her wardrobe was a similar jumble. Her dresses and jackets, custom-made for her by a couture seamstress she’d befriended in Paris, had been subjected over the years to endless alterations, additions, and improvements. She was devoted to a pair of flesh-colored orthopedic ghillies called “space shoes” that a retired figure skater had made for her in the 1950s to relieve the pain in her frost-damaged toes. Her preferred accessories were a child’s sun hat with a bright blue splatter-painted band and matching sunglasses.

  The year after I was born my grandmother bought the house next door to my mother’s house in Asheville as a second home. It was the ugliest house in the neighborhood, but Grandma was extremely proud of it. It looked like a badly constructed pontoon boat had eaten and failed to digest a mobile home, then crashed into the mountainside. It had white aluminum siding and a flat tarpaper roof, with red aluminum awnings that made its doors and windows look like sleepy, half-closed eyes. But my grandmother didn’t care. The house was hers, and that was what mattered.

  Before she moved in, she shipped herself a coal-burning stove and a box of bricks from her house in New York. Grandma sent a lot of things to Asheville over the years, including a pair of fuchsia suede high-heeled sandals too large for anyone but my father, a fur wallet made by one of her psychiatric patients, and a kerosene lamp and cookstove, with live fuel included, “just in case.”

  A lot of things were just in case. Candles and cough drops, the woolen bandage she always carried in her purse. My grandmother practiced a peculiar and intensive form of self-sufficiency. She wasn’t a wilderness type; she just knew that in the end, the only person she could truly rely upon was herself.