![](\"http:\/\/www.artsjournal.com\/herman\/images\/BILL%20OSBORNE.jpg\"\nwidth=160)
<\/A>Regarding the Memorial to the Murdered Jews of Europe,\nwhich opens today in Berlin: “I too was struck by Ourousoff’s article in the Times,” Bill Osborne
\nmessages. “It was far above what one usually reads in the paper, but one of the statements
\nbothered me:<\/P>
\n
\n
The memorial’s power lies in its willingness to grapple with the moral
\nambiguities arising in the Holocaust’s shadow. Its focus is on the delicate, almost imperceptible
\nline that separates good and evil, life and death, guilt and innocence.<\/BLOCKQUOTE>
\n<\/P>
\n“Just how ‘imperceptible’ were the lines that separated good and evil during Germany’s
\npersecution of the Jews?” Osborne, above, asks. “Why did the world think it could just overlook
\nthe Nuremberg Laws<\/FONT><\/B><\/A>? By 1935, the
\nextreme violence and degradation directed toward the Jews was mind-boggling, and openly
\npracticed for the whole world to see. The actions were obviously evil. The lines that were
\ncrossed were not in any way ‘imperceptible.’<\/FONT><\/B><\/A>
\nThis is important to note, because if the abuses caused by the Nuremberg Laws had been stopped
\n(and this was well before Germany had re-armed,) the Holocaust would never have happened. It
\nwould have also put Hitler out of power. How ironic if Berlin’s new monument rationalizes the
\nworld’s willful, numbed blindness.<\/P>
\n“But there are important meanings symbolized by the memorial. Once you enter the spiritual
\nlabyrinth of the Holocaust, it is difficult to ever fully return. Your perceptions of humanity are too
\ndeeply altered. As the memorial symbolizes, you enter at first not knowing quite what you are
\nseeing. You still have an ability to maintain an outside perspective. But as you go deeper and
\ndeeper all reference is lost. There is an abyss in our humanity that has never been defined, and
\nwhich no religion, philosophy or moral system has ever adequately examined. The Holocaust thus
\nremains without any frame of reference from which it can be approached. The impulses that
\ncreated the Holocaust are very human, but come from a hideous part of the social psyche of
\nwhich we have almost no knowledge or understanding. It is a labyrinth in which we become lost
\nbecause it has never been mapped. Among many other things, the memorial is a monument to our
\nlack of knowledge about who and what we really are.<\/P>
\n“But that does not mean we do not know evil when we see it. Decent people do not stand by
\nwhen humans are subjected to beatings, arson, humiliation, radical degradation and systematic
\ndisappropriation. Through the Nuremberg Laws, the entire world watched this happen with full
\nknowledge that the actions were evil.<\/P>
\n“And little has changed.”<\/P>
\nAs usual, Osborne’s perceptions and conscience are far more acute than mine.<\/p>\n","protected":false},"excerpt":{"rendered":"
Regarding the Memorial to the Murdered Jews of Europe, which opens today in Berlin: “I too was struck by Ourousoff’s article in the Times,” Bill Osborne messages. “It was far above what one usually reads in the paper, but one of the statements you quoted yesterday really bothered me: The memorial’s power lies in its […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1104","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-hO","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1104","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1104"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1104\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1104"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1104"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}