Finding the Form with Lilita Tannis
By Lilita Tannis
My close family friend who was from another generation, from another time of history, who lived across the world, had died. Mara was a Jew who survived the Holocaust in Latvia. My brother told me that her son was at the funeral and described him as a beautiful person. Leonid. For some reason we had never been introduced.
I realized that he was the son of a survivor of which there were few. I texted him. Would he meet me in Riga in a few months. I was a writer and I wanted to learn about the Holocaust. Of course, he said.
I didn’t know what I was going to do with the interview. I didn’t know if it would end up as research, a profile piece, whether I would write it in English or Latvian, or at all. I didn’t know what kind of man I was about to meet or what he was about to tell me. I knew little about the Holocaust in Latvia at the time. I had a few months to study up.
Leonid spoke three languages but not very good English. I interviewed him in my second language Latvian. I recorded our interview so that I could transcribe and translate his words later into English. The recording, I realized later, allowed me to replay and repeat all of Leonid’s details or inferences during the interview that I missed at the interview, or at first listen.
My home research led me to Latvian place names I’d never heard of, although I’d visited Latvia often after its independence from Soviet Russia in 1991. I read from Jewish, Latvian, Canadian and American sources. A fellow writer forwarded contacts to a contemporary Latvian historian. Sometimes I would ask him three times about some confounding military detail especially if I was reading the information in Latvian. I would pose questions to him in English mostly, to be precise. He would answer me in Latvian, so that he too could ensure correct information. I visited the Jewish Museum in Riga. I went to Šķēde, a Jewish memorial and mass grave site in southern Latvia.
Leonid chose our meeting location in Riga. I was utterly absorbed in my surroundings. This was my ancestral city, and we met in a contemporary and beautiful corner of it, full of locals. As he started to tell his family story, I was triggered in ways I couldn’t have imagined. I felt fully alive, a part of a breathing history.
I tend to write in a collage form. I weave many inner and outer experiences together and through each other. I never know what it is I’m getting at until I write and weave, abandon, write again, weave anew. A piece like this takes me months, years to write. I can write other pieces in a week, but not a story like this.
My first draft started well over 5,000 words. In collaboration with a TNQ editor, I cut it down to 3,500.
It was challenging to inform the reader of grotesque historical detail and weave that together in a human story. It was new to me to learn how to find answers to disputed questions of history. I had to compare many sources with different contexts and answers. I was writing about my people, a weighty responsibility.
It is rewarding to write a complex story that has a chance of surviving. I am lucky to have met Leonid.
Lilita Tannis is a writer and poet working on a hybrid memoir. Her work has been published in The New Quarterly, The Font, Haiku Canada Review, The Poemdemic Anthology, The Trillium Anthology. She won a Sakura Award, Vancouver Cherry Blossom Festival Haiku Competition 2024. She comes from Latvian war refugees and Canadian landscapes.