Non­fic­tion

Ire­na’s Gift: An Epic WWII Mem­oir of Sis­ters, Secrets, and Survival

  • Review
By – July 22, 2024

Karen Kirsten grew up in a fam­i­ly of sur­vivors. Her moth­er, Joa­sia, was born dur­ing the Holo­caust, and her beloved grand­par­ents, Alic­ja and Mietek, were impris­oned in con­cen­tra­tion camps. Each of these indi­vid­u­als expe­ri­enced unspeak­able trau­ma and ini­tial­ly either spoke lit­tle about their expe­ri­ences or lied about them to pro­tect her. For exam­ple, when Kirsten was a child, Alic­ja told her that the num­ber tat­tooed on her arms was her phone number.

In Irena’s Gift, Kirsten unearths her family’s sto­ry. She sets her per­son­al his­to­ry against the back­drop of her family’s Holo­caust expe­ri­ence, which she pieces togeth­er through inter­views, mem­oirs, and vis­its to Poland and con­cen­tra­tion camps. What she dis­cov­ers is that each of the cen­tral peo­ple in her life made this jour­ney in their own unique way.

Ear­ly in the book, Kirsten shares the infor­ma­tion that would pro­pel her to begin her inves­ti­ga­tion. Karen Kirsten’s moth­er, Joa­sia, received a let­ter at the age of thir­ty-two in which she learned that much of what she believed about her fam­i­ly was not true. Mietek and Alic­ja, the peo­ple who raised her, were actu­al­ly her aunt and uncle. Joa­sia also dis­cov­ered that her father, whom she thought had aban­doned her, was liv­ing in Cana­da and eager to meet her.

Kirsten pieces togeth­er her mother’s past through con­ver­sa­tions with her grand­moth­er, Alic­ja; her mother’s father; and her bio­log­i­cal grand­fa­ther, Dick. She also vis­its the places where her moth­er lived — War­saw, Lvov, con­cen­tra­tion camps, and the remains of ghet­tos. Ire­na, Alicja’s sis­ter, was mur­dered at the farm where she was hid­ing from the Nazis with Dick, her husband.

Mirac­u­lous­ly, Joa­sia was saved and smug­gled by Dick to Alic­ja and Mietek, his sis­ter-in-law and broth­er-in-law. Alic­ja and Mietek, along with Joa­sia, lived as Chris­tians, in con­stant fear of being giv­en up to the gestapo. All of them lived mea­ger exis­tences — until the day the gestapo showed up and impris­oned Mietek, Alic­ja, and Dick, leav­ing baby Joa­sia behind and alone. After reg­u­lar beat­ings and abuse, Mietek and Alic­ja bribed a prison guard with the jew­els Alic­ja had kept hid­den for three years in order to res­cue baby Joa­sia and bring her to safe­ty. The baby was even­tu­al­ly brought to a monastery, where she was cared for for sev­er­al years. At the end of the war, Joa­sia was about four years old. Alic­ja and Mitek man­aged to sur­vive and even­tu­al­ly moved to Aus­tralia with Joa­sia. Dick sur­vived too, but Joa­sia wouldn’t see him again for more than thir­ty years.

Like many Holo­caust mem­oirs, the sto­ry describes the hor­ror of ghet­tos, con­cen­tra­tion camps, and forced march­es in streets. What is excep­tion­al about Kirsten’s book, how­ev­er, is the series of details spe­cif­ic to her fam­i­ly. At the age of fif­teen, Joa­sia con­vert­ed to Chris­tian­i­ty, simul­ta­ne­ous­ly hid­ing it from her par­ents and reject­ing them through her con­ver­sion. She grew up feel­ing that Alic­ja hat­ed her and found solace only after her con­ver­sion. Kirsten admits that the rela­tion­ship between Alic­ja and Joa­sia was dif­fi­cult at best. Alic­ja strug­gled to trust peo­ple or show warmth. As Kirsten explores fur­ther, she dis­cov­ers that her fam­i­ly mem­bers each have their own ver­sion of every sto­ry, and she tries to under­stand the rea­sons for these diver­gent views. 

Irena’s Gift is a high­ly read­able and per­son­al sto­ry about strength and sur­vival. Ulti­mate­ly, Kirsten con­cludes that all we can take from the past are the sto­ries. The truth, if we go look­ing for it, will always remain elu­sive. Instead, if we are lucky, we can devel­op a greater under­stand­ing of those we care about.

Mar­i­an Stoltz-Loike, Ph.D. is author, speak­er and aca­d­e­mi­cian. She is the author of Dual Career Cou­ples: New Per­spec­tives in Coun­sel­ing and Cross-Cul­tur­al Com­mu­ni­ca­tion.

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