Tomasz Żukowski is Associate Professor of Modern Polish Literature and Culture in the Department of Contemporary Literature and Social Communication at the Polish Academy of Sciences. He is the co-author of Philo- Semitic Violence: Poland’s Jewish Past in New Polish Narratives (2021), and the co-editor of The Holocaust Bystander in Polish Culture, 1942–2015: The Story of Innocence (2021).

• Introduction: What We Know Doesn’t Matter Part I: Bystanders’ Trauma? 1. Witnesses to Their Own Aggression: The Beater by Ewa and Czesław Petelski (1963) 2. What the Excluded Say: Henryk Grynberg’s The Jewish War (1965) and The Victory (1969); Paweł Łoziński’s Birthplace (1992) 3. “Say I Am Innocent” 4. Jewish Graves as the Polish Unconscious: The Holocaust in Polish Cinema after 2000 Part II: Anxiety and Self-Image 5. First Reaction to the Holocaust: “Protest” by Zofia Kossak-Szczucka (1942) 6. Collective Aggression in Holy Week (1946) by Jerzy Andrzejewski 7. How Not to See What Has Just Been Said 8. The Same Story Whitewashed: Andrzej Wajda’s Holy Week (1995) Part III: The Righteous - The Hinge of Self-Fashioning 9. Social Practice 10. The Rescue of Jews as a Polish Self-Portrait: The Samaritans: Heroes of the Holocaust by Władysław Bartoszewski and Zofia Lewin (1966) 11. Narrative Patterns 12. Ashamed Jews: The Righteous During the 1968 Antisemitic Movement 13. Unique or Different Models? Part IV: The Antisemite Becomes Righteous 14. Discursive Model 15. Border Street by Aleksander Ford (1949) 16. 60 Years Later: In Darkness by Agnieszka Holland (2011) 17. Is an Alternative Story Possible? Aftermath by Władysław Pasikowski (2012) Part V: The Same Once Again - Our Class by Tadeusz Słobodzianek (2010) 18. After Neighbors by Jan Tomasz Gross: Regress 19. An Unnoticed Part of the Drama 20. Reception

Tomasz Żukowski is Associate Professor of Modern Polish Literature and Culture in the Department of Contemporary Literature and Social Communication at the Polish Academy of Sciences. He is the co-author of Philo- Semitic Violence: Poland’s Jewish Past in New Polish Narratives (2021), and the co-editor of The Holocaust Bystander in Polish Culture, 1942–2015: The Story of Innocence (2021).

• Introduction: What We Know Doesn’t Matter Part I: Bystanders’ Trauma? 1. Witnesses to Their Own Aggression: The Beater by Ewa and Czesław Petelski (1963) 2. What the Excluded Say: Henryk Grynberg’s The Jewish War (1965) and The Victory (1969); Paweł Łoziński’s Birthplace (1992) 3. “Say I Am Innocent” 4. Jewish Graves as the Polish Unconscious: The Holocaust in Polish Cinema after 2000 Part II: Anxiety and Self-Image 5. First Reaction to the Holocaust: “Protest” by Zofia Kossak-Szczucka (1942) 6. Collective Aggression in Holy Week (1946) by Jerzy Andrzejewski 7. How Not to See What Has Just Been Said 8. The Same Story Whitewashed: Andrzej Wajda’s Holy Week (1995) Part III: The Righteous - The Hinge of Self-Fashioning 9. Social Practice 10. The Rescue of Jews as a Polish Self-Portrait: The Samaritans: Heroes of the Holocaust by Władysław Bartoszewski and Zofia Lewin (1966) 11. Narrative Patterns 12. Ashamed Jews: The Righteous During the 1968 Antisemitic Movement 13. Unique or Different Models? Part IV: The Antisemite Becomes Righteous 14. Discursive Model 15. Border Street by Aleksander Ford (1949) 16. 60 Years Later: In Darkness by Agnieszka Holland (2011) 17. Is an Alternative Story Possible? Aftermath by Władysław Pasikowski (2012) Part V: The Same Once Again - Our Class by Tadeusz Słobodzianek (2010) 18. After Neighbors by Jan Tomasz Gross: Regress 19. An Unnoticed Part of the Drama 20. Reception

Tomasz Żukowski is Associate Professor of Modern Polish Literature and Culture in the Department of Contemporary Literature and Social Communication at the Polish Academy of Sciences. He is the co-author of Philo- Semitic Violence: Poland’s Jewish Past in New Polish Narratives (2021), and the co-editor of The Holocaust Bystander in Polish Culture, 1942–2015: The Story of Innocence (2021).

• Introduction: What We Know Doesn’t Matter Part I: Bystanders’ Trauma? 1. Witnesses to Their Own Aggression: The Beater by Ewa and Czesław Petelski (1963) 2. What the Excluded Say: Henryk Grynberg’s The Jewish War (1965) and The Victory (1969); Paweł Łoziński’s Birthplace (1992) 3. “Say I Am Innocent” 4. Jewish Graves as the Polish Unconscious: The Holocaust in Polish Cinema after 2000 Part II: Anxiety and Self-Image 5. First Reaction to the Holocaust: “Protest” by Zofia Kossak-Szczucka (1942) 6. Collective Aggression in Holy Week (1946) by Jerzy Andrzejewski 7. How Not to See What Has Just Been Said 8. The Same Story Whitewashed: Andrzej Wajda’s Holy Week (1995) Part III: The Righteous - The Hinge of Self-Fashioning 9. Social Practice 10. The Rescue of Jews as a Polish Self-Portrait: The Samaritans: Heroes of the Holocaust by Władysław Bartoszewski and Zofia Lewin (1966) 11. Narrative Patterns 12. Ashamed Jews: The Righteous During the 1968 Antisemitic Movement 13. Unique or Different Models? Part IV: The Antisemite Becomes Righteous 14. Discursive Model 15. Border Street by Aleksander Ford (1949) 16. 60 Years Later: In Darkness by Agnieszka Holland (2011) 17. Is an Alternative Story Possible? Aftermath by Władysław Pasikowski (2012) Part V: The Same Once Again - Our Class by Tadeusz Słobodzianek (2010) 18. After Neighbors by Jan Tomasz Gross: Regress 19. An Unnoticed Part of the Drama 20. Reception