I find Holocaust memoirs to be somewhat variable in quality and readability. Maybe the memoirist’s memories are not that detailed or reliable. Sometimes the person who has undertaken the task of writing the stories down is just not a great writer. Sometimes the reader may be the problem: I’m not immune to the chilling effect of a jadedness produced by too many horrific World War II stories, too many atrocities, too much suffering and starvation for a person to read and assimilate.

Hidden Gold is an excellent example of a Holocaust memoir that is sharp, well-written, detailed, and narrative. I was absorbed by the story of young David Gold and his family and their survival in hiding in Poland, written by Mr. Gold’s niece and based on Mr. Gold’s memories of 1942-1944 when he was twelve to fourteen years old. “David Gold’s memories of his formative years during World War II are as vivid and compelling under his niece’s pen as if they happened yesterday.” (from the blurb on the back cover of the book)

The Gold family–David, his two older sisters, and his mother–survived in hiding on a Polish farm because they were rich, because they were smart and initially healthy, and because they were lucky, or perhaps preserved by a miracle form God. Even though the memoir is woven from David Gold’s memories, David’s older sister Shoshanna, who later became the mother of the author, emerges as the heroine of the tale. Shoshanna is the one who negotiates with outsiders on behalf of the entire family because she has blue eyes and speaks Polish without a Yiddish accent. Shoshanna is the one who encourages the family not to commit suicide when it seems that choice is the only one left to them. Unfortunately, Shoshanna Gold Barakowski died at a relatively young age in 1972, while the author was still in her teens, and the other sister, Esther, also died (of cancer) in 1984, long before Ms. Burakowski began to write this book.

I did wonder how much the author embellished or assumed as she told of the thoughts and motivations of her family members, most of whom were not available to vet the text or give their own take on events. Still, most memoirs are a mix of fact and fill in the blank, and I give the author credit for filling in, if she did, in a way that reads as authentic, coherent, and literary. I read and believed, and I was reminded that hatred and prejudice and bravery and human endurance are all a part of our shared human history as well as evident in the present day “holocausts” that continue to be perpetrated on the innocent and the unprotected.

[T]he memoir as unfiltered actuality is a myth. Fickle and unreliable memories must be reconstructed and made coherent; a story’s assembly, style, and characterization will inevitably compromise any strict retelling. Emphatically, this does not mean the work is less autobiographically or historically valid—–only that it is never pure autobiography or history, and has to be understood and embraced thus. Truth isn’t synonymous with historicity, and infidelity to the latter isn’t necessarily betrayal of the former. ~”The Holocaust’s Uneasy Relationship with Literature” by Menachem Kaiser, The Atlantic, December 2010