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Rose’s Odyssey” is an absolutely riveting story of surviving the Holocaust that tells a story quite different from almost any other Holocaust story you might have read.
By BERNIE BELLAN In the spring of 1984, Dr. Meir Kryger (whose name is no doubt well known to many readers as the “sleep doctor” who spent many years in Winnipeg), his wife, Barbara, and daughter, Shelley, along with Meir’s mother, Rose, went to Rome where they were to spend Passover with Meir’s cousin, Henry Welch.
It was during a Passover seder in Henry’s apartment that Rose Kryger opened up – for the very first time, about what had happened to her during the Second World War. As a child of Holocaust survivors – and like so many other children of Holocaust survivors, Meir didn’t have a clue about his parents’ past, but as a child, he didn’t consider that unusual.
As Meir notes in his mother’s recently published memoir, “Rose’s Odyssey,” “I eventually learned that what is considered normal is quite different for children of Holocaust survivors. I never touched a single artifact from my family that predated the second World War. I thought that was normal. I never knew grandparents. I thought that was normal. As I was growing up every family that I knew had survived the horror of losing everything. I thought that was normal. Our family had no place it considered home, even when we were living in Montreal. I thought that was normal. Most of the adults I knew while growing up had horrible unspeakable memories locked up that were never discussed.”
Now, there have been countless memoirs and accounts of Holocaust survivors published over the years, but in many ways “Rose’s Odyssey” is unlike any other that I have ever read. In the first place, Rose, her husband Sam, sister Ghenia, and nephew Zvi (who later adopted the Anglicized name Henry), ended up traveling east from Poland to escape the Nazis, in contrast to so many other accounts of survivors who either remained trapped in Poland or managed to escape by going west.
Reading about the travails that beset those four individuals beginning in 1939 and through to 1945 is horrifying, but in a totally different way than it was for the millions of victims who didn’t manage to escape Poland.
A second aspect of “Rose’s Odyssey” that was so totally gripping is the matter of fact language that Rose uses in describing what happened to her. As it turned out, Rose had compiled a very detailed set of journals in which she described her experiences – both during and immediately after the war, along with those of her husband, sister, and young nephew.
As Meir Kryger notes in the prologue to this book, however, it was only after Rose’s death in 1993, in Montreal, that his sister and he actually discovered those notebooks, all written in Yiddish. As well, there were two audiocassettes in which Rose had also told what had happened.
Henry Welch actually translated Rose’s words and published a book in 2004 titled “Passover in Rome.” That book went out of print, but during Covid Meir reread the book and “felt the book needed to be made available again.”
Thus, after revising the original “Passover in Rome” and updating it with new maps, photos, and a glossary of Yiddish expressions, “Rose’s Odyssey” was published in 2022. It is available on Amazon as both a paperback and in Kindle format.
While the mere fact that the four individuals whose story is told in the book travelled over 18,000 kilometers from 1939-1947, which is when the story ends with Rose and Sam going to Palestine, is astonishing enough, it is reading about all the horrendous experiences they endured – yet somehow managed to survive, that makes this book so compelling to read.
In conversations with Holocaust survivors myself I’ve often asked them what it was that they think kept them going when so many others around them perished? In most cases, the answer that they would give is “luck,” and while that was certainly an ingredient in so many survivors’ stories, I often thought there was something else that had been at play.
Rose and her sister, Ghenia, were not exceptionally strong physically, and while the book also doesn’t indicate that Sam Kryger was much different from the average Polish male Jew, he was certainly capable of shouldering extreme physical challenges, it turned out.
But it was Rose and Ghenia whose abilities to endure anything thrown at them which made me write to Meir Kryger at one point when I was about halfway through reading the book, saing that I just “couldn’t put it down.” Of course, knowing that all four survived the war – even before I began to read the actual story of how they survived, told me that there wouldn’t be a shocking surprise – which might have made me hesitant to want to continue reading what is, in no uncertain terms, a true horror story.
Yet, some elements of the story related such abject descriptions of suffering that once I had finished reading certain chapters I just has to take a break from finding out yet another story about the absolute degradation that was forced upon those four individuals.
At the same time though, the book is a remarkable adventure. Traveling 18,000 kilometers – on trains, boats – leaky rafts at one point, camels at another point, and very often, simply on foot, would make anyone wonder where Rose and Ghenia, in particular, drew the strength to carry on?
From managing to survive a slave labour camp in Siberia their first winter after escaping to Poland to constantly seeking a warmer place where they might live, Rose and the others reached what must have been the nadir of their journey when they found themselves in Kazakhstan in 1941.
In a chapter titled “Worst Winter of Our Lives,” Rose describes having to deal with a typhoid epidemic that swept through the hellhole in which they found themselves, known as “Zhyd Ken Chek”:
“We were in the middle of the Kazakhistan Steppes, where the wind runs wild without any obstacles. Outside there were no trees and very scarce vegetation. The highest tree was a small bush not higher than 8 to 10 inches. That little bush dried by the wind became the only fuel we had to cook, bake and heat our kibitka. We collected these bushes and stored them in our hallway.”
In the course of the chapter, Henry Welch who, from time to time in the book, adds his own commentary to Rose’s words – sometimes to clarify certain aspects of the story, at other times to give his own perspective on something she has written, describes what happened to him in Zhyd Ken Chek:
“The minute we got into this settlement, I got sick. As my mother used to say, may she rest in peace; when it comes — it comes in bunches. I got measles. After the measles, I got pneumonia, then a horrible case of diarrhea and finally typhoid fever like everybody else. It was very unusual because I was never sick since we left our home in Lodz. I sure made up for it all at once in Zhyd Ken Chek.”
As typhoid fever swept through the settlement, however, everyone there became infected at one point or another that horrible winter.
Even as I’m writing this, I have to pause to consider what Rose wrote about that typhoid epidemic, in her typical unsentimental “just the facts” style of writing: “That winter Zhyd Ken Chek turned out to be a death trap. Of the 128 people who had arrived at the end of December 1941, only about 25 survived by the time spring of 1942 made its slow appearance. The four of us were among the survivors.”
But, as if that weren’t enough, Rose adds this note about one of the huts that had housed 45 men: “That ill-fated single men’s hut; out of 45 strong, young men, only two or three survived. The rest of them died during the typhoid epidemic. There was no medication, no medical assistance and not enough food. I would visit them from time to time and bring whatever food we had to spare.”
Returning to the question which I had posed previously: Was there something special that allowed Rose, Sam, Ghenia, and Ziv to survive when so many others didn’t? Rose herself gives no clue as to what it was that enabled those four to survive, but there is a hint that Ghenia had an exceptional ability to improvise to the point that she became a skilled black marketer in many of the outposts where they found themselves, and that proved crucial to the wellbeing of all four.
Whether it was trading various food items or other different commodities in their possession, reading about Ghenia’s resourcefulness is not only fascinating, it’s highly entertaining in many respects.
And, in the end, as gut wrenching as so many parts of “Rose’s Odyssey” are – and how could any story of surviving the Holocaust not be – it’s also a story of triumph – of taking all those blows leveled at the four individuals who faced unremitting challenges together, and persevered.
The book doesn’t end with the end of Word War II, however. Rose and Sam end up returning to Poland, where they found out that Rose’s other sister, Sally, has also survived the war. even though she had been taken to Auschwitz, as had several other of their relatives. But the Poles were decidedly unwilling to welcome Jews back into their midst, so Rose and Sam ended up making their way to Germany where, in one of the great ironies of the aftermath of the war, many Jews did find a welcome mat laid out for them.
Eventually though, Rose and Sam could simply not accept the notion that they would live their lives amidst the very people who had brought about the Holocaust in the first place. As noted, Rose’s journey ends with her and Sam emigrating to Palestine, along with their two children, Marylka, who was born during the war, and Meir, who was born in 1947. I should also mention that Rose did have another child – a girl named Gucia – in Siberia, but because there was so little food, Rose could not properly nurse the child, and she died after three months. Rose never got over the loss of that child and, while she didn’t attempt to put it out of her mind at any point, her iron will to survive led her to find the inner strength to carry on.
Again, reading out about Holocaust survivors who went from Poland to Siberia – and then to even more distant lands, never knowing when they would have to move again, and then returning to where it all began – is an engrossing story in itself. The fact that this book is so well written is a credit not only to Rose Kryger’s vivid account of horrific events, but also to Henry Welch and Meir Kryger, both of whom contributed to the editing of this absolutely compelling story.
Even though the book was self-published somehow it made its way on to the reading list of none other than Arianna Huffington, author, entrepreneur, and founder of he Huffiington Post, who was effusive in her praise of the book, writing “I love this book: it is compelling, enlightening and at times, heartbreaking.”
One final note: Meir Kryger had contacted me about this book back in August when it was first published. I told him back then that I simply didn’t have time to read it because I was quite busy putting out the paper – although I did say that I would try to find time to read it at some point. If only I had known then how good a book “Rose’s Odyssey” was; I can only hope that this review leads others to making that same discovery – sooner rather than later, as was unfortunately the case with me.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.