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Handed back after the war to Otto Frank - Anne’s father and the only member of the family to survive the death camps - the manuscript was accepted by a Dutch publisher, which initially printed 1,500 copies under the title “Het Achterhuis” (”The Rear Annex”). In 1952, on what would have been Anne Frank’s 23rd birthday, “The Diary of a Young Girl” was published in the United States.
It’s hard to find much fresh to say about a book that has been scrutinized as much as Frank’s diary. As Prose points out, three-quarters of the country’s Jewish population died; 107,000 Jews were deported between July 1942 and September 1944, most rounded up by compliant Dutch police. In July 1942, the day after Margot Frank, Anne’s older sister, received orders from the Gestapo to report to a work camp - the final step before deportation - the family fled to the hiding place that had been readied for them by a handful of sympathetic friends and colleagues.
Prose rebuts the charge that Frank’s diary was a “found object” - the inconsequential scribblings of an adolescent whose death elevated it far beyond its value as a work of literature. Prose’s summaries and explanations of dialogue and plot can, inevitably, sometimes read like CliffsNotes, but she makes a persuasive argument for Anne Frank’s literary genius.
The best part of Prose’s book is her consideration of Frank’s divisive legacy. She meets educators at the Anne Frank Foundation in Amsterdam who have used the diary to promote reconciliation in Argentina and Ukraine - with mixed results. After writing a glowing review for The New York Times Book Review (whose editors he angered by covering up his close friendship with Otto Frank), Levin embarked on a self-destructive quest to adapt the book for the stage. His dark vision put Levin in conflict with the Broadway establishment, including Lillian Hellman and Garson Kanin, who wanted to cast Frank’s tale as an upbeat story deracinated from its Jewish identity. In an essay that appeared in The New Yorker in 1997, Cynthia Ozick attacked both the play and the subsequent movie, arguing that Frank’s work had been “bowdlerized, distorted, transmuted, traduced, reduced . . . infantilized.”
The Broadway ending was belied, Prose reminds us, by Anne Frank’s fate. Prose describes the Frank sisters’ last days in Bergen-Belsen: huddled in the barracks, succumbing to malnourishment, fatigue, cold and disease in the harsh German winter. Karl Josef Silberbauer, the Austrian Gestapo agent who arrested Frank and her family, ended his days in comfort. Unrepentant, somewhat pleased with his notoriety, Silberbauer observed that he’d missed a chance to be the first to read Anne Frank’s diary: “Maybe I should have picked it up from the floor,” he told a reporter. You could have the book, click here.
