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.
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:
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.
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.
Aranka Fábos Héviziné
& Gyula Fábos
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
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
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.
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
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
Anita Haüsermann Fábos, Ph.D.
Bettina Fabos, Ph.D.
Kristina Poznan, Ph.D.
Leslie Waters, Ph.D.
Judit Hegedűs
Liza Bognár
Zsuzsa Bognár
Réka Juhász
George Greskovits, Ph.D.
Réka Juhász
Olivia Fabos Martin
Dorottya Hévizi
Dorottya Hévizi
László Hévizi, Ph.D.
Peter Yezek
Keith Kennedy
John Doughty
Zsuzsa Bognár
Hannah Krogh
Zane Phillips
Hungarian Initiatives Foundation
University of Northern Iowa
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.