Epilogue

ASchildren in this photograph in 1939, Ari and Gyula couldn’t have imagined their lives would turn out this way. They loved each other, loved their family, and loved their life on the farm. Yet, in the next two decades their own country would plunge them into a horrible war; exterminate their Jewish neighbors; arrest, torture, and imprison Gyula and his father; push the family off of their land; and tear sister and brother apart. What happens when your own country does this to you?

GYULAescaped to Vienna. Months later he gained passage on the General Le Roy Eltinge, a U.S. Navy transport ship, to the United States as a refugee.

He continued his studies in agronomy at Rutgers in New Jersey and married a Swiss kindergarten teacher named Edith Haüsermann in 1959. Later on, Gyula went to Harvard to study landscape architecture and became a professor of landscape planning in Amherst, Massachusetts.

Gyula and Edith had three children: Anita, Adrian, and Bettina. I am the “youngest,” a twin, born five minutes after my brother in 1965.

ARI,though she remained in Hungary, moved farther away from the family’s roots by marrying László Hévizi, a Budapest-trained lawyer and chess champion.

Pista and Gizi could not relate to László’s big city ways or formal education. László knew nothing about farm life.

According to family lore, he criticized Gizi’s salad dressing (it may have just been a misunderstanding), making his relationship with Ari’s parents grow so strained that he rarely went with Ari to visit Keszthely.

Ari and László had a son, László Hévizi, Jr., known as Laci.

They lived a modest life in a small apartment on Hungária Körút, one of the commercial thoroughfares encircling Budapest. They learned to survive the post-’56 communist system.

And after ten years working as a statistician, Ari finally became an artist! In 1966, the state health insurance company needed someone to promote the progress of universal health care, and it turned out that she excelled at data visualization.

Ari and young Laci visited Lake Balaton as often as possible as a reprieve from the busy city. One enduring luxury in communist Hungary was an abundance of time.

PISTAwas arrested by Soviet-backed authorities a year after Gyula’s escape in 1956. He was sentenced to six months hard labor in Tököl, south of Budapest—punished, it became apparent, for his son’s participation in the revolution and subsequent escape from Hungary.

Pista survived the camp and came home to his job as a postal worker. He maintained two tiny vineyard plots, one in Marcali, the other near Keszthely. He made excellent wine, which he privately sold in his backyard.

GIZIstruggled to acclimate to the new system. She lost her son to America, her husband to forced labor, and her daughter to Budapest.

In the 1960s, she had thrombosis (a clot in her vein) and was not quite the same anymore, becoming ever more dependent on Pista and deteriorating mentally and physically. For Gizi, adapting to life off the farm was next to impossible.

Family Visits

FOURTEENyears after the ‘56 Revolution, Hungary was a much different place. The political terror of the 1950s gave way to a more relaxed “Gulyás” Communism and my family began to visit Hungary every two to three years. My siblings and I adored our grandfather Pista. He taught us how to crack a whip and drive a moped. Though he could sometimes be domineering and had a temper, he could communicate with us even though we could only speak a few phrases of Hungarian.

I never knew, until my sister and I interviewed Ari in 2005, that she had wanted to escape with Gyula to Vienna and beyond. I like to imagine what would have happened to Ari if she, too, had found her way to America.

Ari stayed because Hungarian women were meant to do as they were told, were meant to take care of their parents. As a boy and then a man, Gyula never experienced these kinds of limitations.

On the other hand, it was not Gyula’s choice to leave Hungary and create a new life in America. Recalling his time at the state agronomy school in the years after World War II, he imagined a full life in front of him as the inheritor of a large farm:

Land

ALTHOUGHLiving a new life in America, Gyula still could not imagine life without land. The communists had taken his patriarchal inheritance, but much of Gyula’s identity now came from acquiring properties in America.

As soon as my parents settled in Massachusetts, Gyula bought a duplex house at the end of a dead-end street that came with five acres of forest. A few years later, after I was hit by a car (age five), my father used the insurance money to buy another eighteen acres nearby.

Soon after, Gyula and his wife Edith went into a partnership with a developer and purchased two apartment complexes, each on 2-3 acres, in western Massachusetts. Edith was tasked with the bookkeeping. My sister, brother, and I did the weeding. It was a lot of work and everybody hated it, with the exception, maybe, of Gyula.

In 1991, Gyula purchased a final 90 acres of forest in rural Massachusetts and his mission was complete: he had amassed the same acreage of land that communist authorities had taken from him. His desire, it later became evident, was to pass this land on to his only son. As with Ari, my sister and I were meant to marry well, while our brother was meant to carry on the patriarchal tradition of landholding. It caused a rift in my own family, proud and torn.

Coda

ONthe surface, my family history largely has to do with land, with their successes and defeats mirroring the national narrative. They received land after the 1848 Revolution. They farmed it well enough to expand their property, taking advantage of Hungary’s growing economic position at the end of the 19th century. They benefited from Horthy’s economic policies during the interwar years that prioritized Magyars. They saw their land turned into a WWII battlefield. And they became victims of the communist takeover, ultimately losing their holdings. Their identity and pride were associated with land, and their lives went into substantial upheaval when their land was torn away.

The Hungarian narrative about land stretches back all the way to 895, when the valiant Magyar men on white horses supposedly claimed the rights to the Carpathian Basin and created an empire. The narrative consistently involves patriarchy, ownership, and expanding borders.

But, beneath the surface, there are other stories that should be told: the stories about how people make a country, not just its borders. The stories about those who were never placed on mythical white horses: women, peasants, and an eclectic mix of ethnicities—Jews, Serbians, Slovenians, Ruthenians, Romanians, Slovaks, Germans, Roma, and others. This story is about rural as much as urban; about women as much as men; about Ari as much as Gyula. It's about how all of these people tried to survive Hungarian history.

Dedicated to

Aranka Fábos Héviziné

& Gyula Fábos

Creators

Written, produced, and created by

Bettina Fabos


Designed by

Dana Potter


Coded by

Jacob Espenscheid

and Collin Cahill


Animated by

Isaac Campbell


Historical Advising and Editing by

Leslie Waters

and Kristina Poznan

Story Advisors

Anita Haüsermann Fábos, Ph.D.


Christopher Martin, Ph.D.


Judit Hegedűs


Judy Polumbaum, Ph.D.


Leisl Carr Childers, Ph.D.


Matt Kollasch


Éva Petrás, Ph.D.


Renata Sack


Julius Gyula Fábos, Ph.D.


László Hévizi, Ph.D.


Stephanie Clohesy

Historical Consultation

Judit Hegedűs


Zsuzsa Bognár


Károly Jókay, Ph.D.


Hanga Gebauer


Huszár Mihály


Éva Domotor


János Horváth


Piroska Nagy


Tibor Frank, Ph.D.


Tamás Suchman


László Fassang


Miklós Tamási


Szabó Béla


Michele Shedlin, Ph.D.


Kamill Kámán


Dr. Miklós Köszeghy


Dr. Kristian Köszeghy


Vilmos Somogyi


László Hévizi, Ph.D.


Nóra Gál, Ph.D.

Photo Archival Research

Miklós Tamási

Co-Founder and Curator

Fortepan


Robert Paarnica

Senior Reference Archivist

Vera & Donald Blinken Open Society Archives


Judit Hegedűs

Reference Archivist

Vera & Donald Blinken Open Society Archives


Judit Izinger

Senior Records Officer

Vera & Donald Blinken Open Society Archives


Zsuzsa Zádori

Senior Audiovisual Archivist

Vera & Donald Blinken Open Society Archives


Hanga Gebauer

Curator, Photo Collection

Museum of Ethnography (Budapest)Ω


Judit Dorottya Csorba

Curator, Film and Photo Collection

Museum of Ethnography (Budapest)


Éva Fisli, Ph.D.

Curator, Historical Photo Department

Hungarian National Museum


Katalin Bognár, Ph.D.

Photo-historian, Curator, Historical Photo Department

Hungarian National Museum


Sándor Tibor

Department Head

Metropolitan Ervin Szabó Library


Adrienne David

Librarian

Metropolitan Ervin Szabó Library


Márton Kurutz

Head of Collections and Research

Hungarian National Film Archive


Dorottya Szörényi

International Promotion and Sales

Hungarian National Film Archive


Éva Petrás, Ph.D.

Historian

The State Security Historical Archives


Péter Pőcz

Photo Collections

Military Institute and Museum


Huszár Mihály

Director

Marcali Municipal Historical Museum


György Danku Ph.D.

Map Historian

National Széchényi Library


András Szécsényi

Photo Collections

Holocaust Memorial Center


Gyöngyi Farkas, Ph.D.

Curator

Museum and Library of Hungarian Agriculture


Éva Vörös

Curator-museologist

Museum and Library of Hungarian Agriculture


István Moldován

Department Head

National Széchényi Library


Susan Gangl

Associate Librarian

Wilson is O. Meredith Wilson Library

University of Minnesota


Participating Archives

Fortepan


Vera & Donald Blinken Open Society Archives |

OSA Archívum


The Hungarian Police Photo Archive |

Magyar Rendőr fotóarchívum


Museum of Ethnography |

Néprajzi Múzeum


Hungarian National Museum |

Magyar Nemzeti Múzeum


Hungarian National Film Archive |

Magyar Nemzeti Filmarchívum |

Film Híradók Online


Marcali Municipal Historical Museum |

Marcali Városi Helytörténeti Múzeum


Holocaust Memorial Center |

Holokauszt Emlékközpont


Library of Congress


New York Public Library


Internet Archive


The State Security Historical Archives |

Állambiztonsági Szolgálatok Történeti Levéltára


Visual History Archive/SHOAH Foundation


The Hungarian Electronic Library |

Magyar Electronikus Konyvtár


Hungarian Digital Image Library |

Magyar Electronikus Konyvtár


Yad Vashem: The World Holocaust Remembrance Center


Metropolitan Ervin Szabó Library |

Fővárosi Szabó Ervin Könyvtár


Great War Primary Document Archive: Photos of the Great War


Military Institute and Museum |

Hadtörténeti Intézet és Múzeum


Holocaust Memorial Center |

Holokauszt Emlékközpont


Wilson is O. Meredith Wilson Library

University of Minnesota


Library and Information

Magyar Tudományos Akadémia Könyvtár és Információs Központ |

Centre of the Hungarian Academy of Sciences


Romanian Academy Library


International Instituut voor Sociale Geschiedenis


British Library Illuminated Manuscripts


Österreichische Nationalbibliothek


National Museum of Health and Medicine


London School of Economics Digital Library


Wolfsonian—Florida International University


SZTE Klebelsberg Könyvtár


United States Holocaust Memorial Museum


Video Interviews

Anita Haüsermann Fábos, Ph.D.


Bettina Fabos, Ph.D.

Translation

Kristina Poznan, Ph.D.


Leslie Waters, Ph.D.


Judit Hegedűs


Liza Bognár


Zsuzsa Bognár


Réka Juhász


George Greskovits, Ph.D.

Transcription

Réka Juhász


Olivia Fabos Martin


Dorottya Hévizi


Scanning

Dorottya Hévizi


László Hévizi, Ph.D.

Technical Support

Peter Yezek


Keith Kennedy

Code Support

John Doughty

Voice Over

Zsuzsa Bognár

Interns

Hannah Krogh


Zane Phillips

Funding Support

Hungarian Initiatives Foundation


University of Northern Iowa

Acknowledgments

I doubt I will ever find another collaborative team so breathtakingly talented as the team that built this project: Collin Cahill, Isaac Campbell, Jacob Espenscheid, Dana Potter, Kristina Poznan, and Leslie Waters – thank you for your supreme intelligence, spirit, wit, endless dedication, and beautiful friendship.


I would also like to thank my sister, Anita Haüsermann Fábos, for initiating this project with me, organizing and conducting our first interviews, and helping me think through the facets of our family tree. Thank you too, to my cousin László Hévizi for the unbelievable support and guidance through our family archives. And thank you to my immediate family members, Christopher Martin, Olivia, and Sabine, who supported me as I crafted this project.


My enduring appreciation goes to all of the archivists who spent time and energy digitizing the 1067 images and artifacts that make up Proud and Torn. 32 archives are represented here, nearly all of them connected to museums and libraries. All of these resources shaped my early research and then became significant sources for visualizing the multiple storylines I was trying to tell about Hungary, and specifically, about rural Hungary.


No photo archive has been more important to Proud and Torn, however, than Fortepan. Curated by Miklós Tamási , this incomparable archive features the amateur photos of everyday Hungarians and is a lyrical journey into Hungary’s past. More than a third of the photographs in this project came from Fortepan. In fact, the archive became such an inspiration that I worked with Tamási and my own colleagues Leisl Carr-Childers, Sergey Golitsynskiy, and Noah Doely at the University of Northern Iowa to launch its first sister site, Fortepan Iowa, in 2015.


Finally, many thanks to numerous friends and family members who helped in big and small ways to assist this project: Ilona Antal, Mercédesz Pápai, Edith Fabos, Nóra Gál, Márta Nagy, Matthew Wilson, Jonathan Chenoweth, Jason Paulsen, Leonard Curtis, Zsuzsa Bognár, István Rév, Andy Van Fleet, Jason Thompson, Matt Johnson, and Mark Doeden.