From Publishers Weekly
Grossman, a Polish Jew, was forced into the Lodz ghetto at its inception in May 1940. For the next four years, until the ghetto was destroyed, Grossman used his privileges as a photographer for the ghetto administration to covertly take thousands of pictures documenting life in the ghetto. The 17 photographs on these pages show the suffering so copiously described by historians and survivorsAsoldiers march through emptied streets; freighted with bundles and rucksacks, heavily dressed people head toward what is surely deportation; a solitary child clutches a wire fence. They are heartbreaking. But even more wrenching are the photos of less iconic scenes. Readers see a team of workers smiling as they bake Passover matzoh and teenagers laughing at some delicious joke. Unfortunately, Smith, a rabbi and a photographer, is not content to let the photos speak for themselves, and he scripts a brief narrative, delivered as if by Grossman. It is numbingly formulaic ("My own pain does not matter. I must show what the Nazis are doing to my people. My pictures will tell the real story, even if I die"), and although he explains how the photographs survived despite Grossman's death, nowhere does he comment on how he arrived at his text, for instance, if the names he assigns some figures are real. For all his piety, his commentary underserves Grossman's work. Ages 8-up. (Apr.)
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 3-6-This remarkable photo-essay about the Lodz Ghetto in Poland poignantly introduces Holocaust horrors. Grossman was a prisoner there for more than four years, and while his "job" was to take photographs for work permits, he secretly used his camera to record the daily lives of his fellow Jewish residents. The text, written as though Grossman himself were explaining how he took the pictures and commenting on the emotions of his subjects, is simple and lets each picture speak for itself. This technique works well and makes the subject accessible to children. The 17 haunting images are not graphic or physically gruesome, but they do show young boys harnessed to carts, men lining up for bread, and families saying horrible good-byes through chain-link fences. They also show people relaxing on the grass, smiling, and singing-a testament to the undying spirit of some prisoners. As these are personal, secret photographs and not the propaganda pictures so often repeated in history books, their significance is great and they are historically fascinating. The incredible story of how the photos have survived is recounted in an appended note. A truly powerful book.
Andrew Medlar, Chicago Public Library, IL Copyright 2000 Reed Business Information, Inc.