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"the perennial protector of the underdog" (245):
Basia in
Righteous Among Nations,
p. 498.

 

In a postwar interview with London's
White Eagle-Mermaid
(248):
May 2, 1963.

Chapter 29

"If I maintain my silence about my secret" (255):
Arthur Schopenhauer,
Parerga and Paralipomena,
trans. E. F. J. Payne (New York: Oxford University Press, 2000), vo1. 1, p. 466 (chap. 5, "Counsels and Maxims").

Chapter 30

blanket-bomb German cities, including Dresden (265):
In the ensuing firestorm, counting victims became impossible, though it's now estimated that 35,000 people perished in Dresden. The rare manuscripts of eighteenth-century Italian composer Tomaso Albinoni, whose Adagio in G Minor has become synonymous with mournfulness, also vanished in flames.

 

the most superstitious of cultures (267):
Many Poles believed in signs and witchery. It was once common for Warsawians to read their fate in a deck of regular (not tarot) cards, or predict the future, especially marriage, by melting wax on a spoon and slowly pouring it into a bowl of cold water. Supposedly, the shape the wax took revealed one's fate—a hammer or helmet shape told a boy he'd be soldiering soon, and a girl that she'd marry a blacksmith or soldier. If a girl dripped wax resembling a cabinet or other furniture, she'd marry a carpenter; if it looked more like wheat or a wagon, she'd marry a farmer. A violin or trumpet meant the person would become a musician.

According to Polish lore, Death appears to humans as an old woman in a white winding sheet carrying a scythe, and dogs can easily spot her. So one can glimpse Death "by stepping on a dog's tail and looking between his ears."

Chapter 31

Russians (271):
The wild-eyed Russian soldiers, known as "Wlasowcy," were soldiers of the Russian general Wlasow, who was collaborating with the Third Reich.

 

"The tram-cars were crowded with young boys" (272):
Stefan Korbónski,
Fighting Warsaw: The Story of the Polish Underground State, 1939–1945,
trans. F. B. Czarnomski (New York: Hippocrene Books, 2004), p. 352.

 

"I will never forget that sound" (282):
Jacek Fedorowicz quoted in Davies,
Rising '44,
p. 360–61.

Chapter 32

"on the fences of all the stations" (297):
Korbónski,
Fighting Warsaw,
p. 406.

Chapter 34

Captions read: "dead city," "a wilderness of ruins," "mountains of rubble" (303):
archival photographs reproduced in Davies,
Rising '44.

Chapter 35

"half a million at most" (307):
Joseph Tenenbaum,
In Search of a Lost People: The Old and New Poland
(New York: Beechhurst Press, 1948), pp. 297–98.

 

"Anyone who dared to praise prewar independence" (309):
Davies,
Rising '44,
p. 511.

 

"I only did my duty" (315):
Rostal, "In the Cage of the Pheasant."

Chapter 36

"the little iridescent green glossy starling" (319):
Heck,
Animals,
p. 61.

 

"what the French call a
polemique"
(320):
Herman Reichenbach,
International Zoo News,
vol. 50/6, no. 327 (September 2003).

 

"some of the pale pink of human skin, some golden, some blue-gray, all flat" (322):
Bruno Schulz,
The Street of Crocodiles
, trans. Celina Wieniewska (New York: Penguin Books, 1977), pp. 27–28.

 

In 2003, Magdalena Gross's sculpture
Chicken
was auctioned by the Piasecki Foundation to help raise money for autism research in Poland.

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