From Publishers Weekly
As a young child, in the Krakow ghetto, Ligocka was known to everyone by the strawberry-red coat she always wore-an image that Steven Spielberg would use in Schindler's List, without knowing anything about Ligocka herself. Determined to tell her own story, Ligocka gives a harrowing, impressionistic account of her early memories of the ghetto: the men in shiny black boots with snarling dogs, the endless waiting in lines, people shot indiscriminately and her grandmother's seizure by SS officers while Ligocka hides under a table. Ligocka and her mother sneak out of the ghetto and are taken in by a Polish family; her father, taken to Auschwitz, escapes several years later. In a poignant episode, the little girl doesn't recognize this haggard specter who wants to embrace her. The memoir also describes Ligocka's youth in Communist Krakow: her career as an actress in theater and films, her struggle as an adult to confront her frightful memories and the weathering of new crises, from the passing of her parents to political turmoil in Poland. Though Ligocka's rendering of her early childhood voice isn't quite seamless (it sometimes sounds forced and too knowing), this doesn't take away from the power of her narrative, and readers may be particularly interested in her experiences as one of a tiny handful of Jewish survivors in Communist Poland. 30 b&w photos.
Copyright 2002 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
Seeing herself as the "girl in the red coat" in the film Schindler's List inspired the author to undertake this painful journey into her past. In a fascinating work that reads like a novel, Ligocka, an acclaimed artist, set and costume designer, and cousin of Roman Polanski, confronts her memories as a young Polish Jew during World War II. Although Ligocka only spends about one-third of the book on her traumatic experiences "hiding in the open" between the ages of three and seven, her experiences obviously affected her entire life, leading to depression, addiction, and an existence of constant fear. As in Julia Collins's memoir, My Father's War, Ligocka's work is a testament to both the frailty and the strength of very young children who have experienced trauma. The remaining two-thirds of this work chronicle Ligocka's life as a career woman, wife, and mother and her struggle to come to terms with her past in the artistic culture of postwar Europe. This work, already a best seller abroad, should be purchased for both public and academic libraries. Maria C. Bagshaw, Lake Erie Coll., Painesville, OH
Copyright 2002 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.