Hildo has copied the story, as written below, from www.jewishmag.com for the sole purpose of keeping the story of Irene Reti online as long as this website is up and going. It is well written and its contence absolutely worth the read.

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City of Toys, City of the Reich

By Irene Reti © 2008

When I was a child I played with electric trains. They were housed in dusty yellow boxes with plastic windows and writing in German. The trains roared on their fragile black tracks through the living room on the shag carpet, past the couch with scratchy fabric, under the orange easy chair only my father was allowed to sit in. Faster and faster they circled, until they sped off the tracks entirely, sparks flying into the carpet and my mother came running into the room where her children loomed like two giants over the derailed toys.

"Be careful," she'd warn. "Those were my father's trains." I knew they were my grandfather's trains, but I did not understand the truths that railroad carried in its tiny cars. Our parents never told my brother and me they were both Holocaust refugees, or even that they were Jewish.

Trains. I think of the train my mother boarded with her sister when they left their parents on Kindertransport, a train carrying weeping children to safety in England, leaving silent, stoical German Jewish parents watching from the platform. I think of the cattle car train that transported my great-grandmother Marie to the ghetto of Lodz, where she was murdered, leaving my grandmother Erna with lifelong guilt for having left her mother in Germany when the rest of the family fled. Behind the benign face of industrious toy production lurks the architecture of industrialized killing.

It has been almost seventy years since the Holocaust pushed my family out of Nuremberg, Germany—a grandmother's age—but this is history I have walked through, wept over, played with as an unsuspecting child. Now I live in California, at the edge of another continent far from that city where the Nazi party gathered for rallies starting in 1927, the year of my mother's birth. They called it the City of the Reich. I have stood on the street in Nuremberg where my mother lived, two blocks from the stadium at Luitpoldhain Park where Hitler held his rallies, where she used to lie awake in the dark, paralyzed, listening to Sieg Heil, Sieg Heil. Yearning for some ritual gesture, I buried her picture in the park near the lake in hopes of healing her spirit.

But there is another Nuremberg, known as the City of Toys, a town that thrived on its toy industry for over five hundred years. I visited Nuremberg's museum, wandered through exhibits of clowns, rocking horses, musical teddy bears, elaborately furnished doll houses. These mass-produced tin soldiers, miniature trains, tiny coal-fired cooking ranges for girls, race cars for boys and fully functioning model steam engines helped socialize boys and girls into a burgeoning industrial society.

My family was an integral part of that toy city. In 1911, my grandfather, Max Bein, joined Doll Co., a model steam engine and toy factory in Nuremberg. Founded in 1898 as a partnership between Peter Doll and Max's uncle Isaak Sondhelm, Doll Co., like many of the toy factories of Nuremberg, was owned by a Jewish family. And during the Nazi era, when the City of Toys morphed into the City of the Reich, history ruptured, sent my grandfather Max, my grandmother Erna, and their two daughters, Elspeth and Inge, to the United States. Inge was my mother and she died this year. Now I am a daughter mourning my mother, watching history circle along the tracks in my living room in the form of these family artifacts.

My aunt is four years older than my mother, and she told me much of this story. My grandfather Max was a gentle and studious man who wanted to be a college professor, not the manager of a factory. But his father died young, and he needed to support his mother and his two younger sisters. The factory became his life. "He rarely missed a day of work," my aunt told me. "Even with a fever he would put on his suit and go off to the toy factory with his little sandwich wrapped in wax paper. He saved that wax paper and re-used it day after day."

So on the day after the Kristallnacht pogrom, the streets strewn with broken glass, Max insisted on going to work. Unlike many Jewish men, he was not arrested that night. What saved him? Perhaps it was the Iron Cross medal awarded for administering a field hospital during World War I, though these kinds of medals did not save other Jewish lives. There were acts of unexpected kindness from non-Jews, such as the day after Kristallnacht, when workers at Doll Co. brought food to my grandparents at their house in the suburbs, and cleaned up the furniture and dishes shattered by the Nazis when they burst into the house.

Soon after that, under the Nuremberg "Aryanization laws," Max sold his business to the Fleischmann Company, another toy factory located in Nuremberg. In some kind of an arrangement whose details are not clear to me, the name Doll Co. was preserved under the Fleischmann Company's name, and my grandfather Max retained an interest in the company until after the war, when he was bought out for a small sum.

In August 1939 war broke out. Max and Erna left a moving van packed with all their possessions in their driveway, boarded a train, and walked over the border into Holland. My grandparents lost their house, business, language, and sense of safety. But they survived. They moved to Boston, where they worried about being able to afford a rented apartment. The German government finally paid them reparations in September 1960, six months before Max died of a heart attack.

My mother and her sister had left Germany in May 1939, before their parents. They boarded a Kindertransport train, part of a program that saved ten thousand German and Austrian Jewish children by bringing them to England. Max's sister, Charlotte, had written to an old boyfriend in England and asked if he would be willing to take care of her nieces if they came on Kindertransport. It was Charlotte who provided a financial guarantee and secured immigration papers for my grandparents.

My mother and aunt were reunited with their parents eighteen months later after a terrifying trip across the Atlantic. They sailed past the debris of torpedoed ships to safety. Thirty years passed. In 1969, my aunt returned to Nuremberg with her husband. When the Fleischmanns took her on a tour of the factory, an elderly woman worker exclaimed, "Oh, my God! It's Max Bein's little girl!" The Fleischman Company prospered and became one of the largest model railroad companies in the world. But they did not forget us. They sent my grandparents gingerbread in Boston. All of this is recorded in my mother's letters, the letters she saved and passed on to me in her will.

December 15, 1955

Liebe Mama and Papa,

Fleischmann certainly must be doing all right. Did he send you some more Lebkuchen this year?

love, Inge

They sent toy trains.

August 27, 1956

Dear Mama and Papa:

It was very nice of Fleischmann to send you another train. Is it any different from the previous ones?

Love, Inge

And they invited us back to the factory. In the year 2000 I stood in front of the Fleischmann factory looking at two doorbells. One was labeled Fleischmann, the other Doll Co. I was tempted to press the bell marked Doll Co. Perhaps this bell was a portal, a time machine that would take me back to before 1938 to meet Max, the grandfather who died a month before I was born. But why the second doorbell? Is it because Doll Co's legacy enhances the reputation of the Fleischman Company, or is it because they want to honor my grandfather's company?

I had written and asked if I might have a tour of the factory. One of the Fleischmann granddaughters ushered me through the plant. She was exactly my age. Were it not for the war, I might have grown up to manage this factory, live her life. She is the first woman in the Fleischmann dynasty to hold this job.

In the reception area glass cases displayed model steam engines from my grandfather's era. I thought of Indian baskets trapped behind glass rather than embedded in the richness of tribal life. The granddaughter sounded perky.

"What did your grandfather do after the war?" she inquired. "Did he start another factory?"

"He was a butler and then an accountant for a furniture store. He was over sixty years old and did not speak English," I replied.

Her face was expressionless. No real conversation about the past was possible. While her back was turned I placed a pebble from the beach in Santa Cruz on a window ledge, just as traditional Jews put a pebble on their ancestors' gravestones. The Fleischmann factory is just one of the markers of my family's exile.

I want to understand how memory works, what we forget and what we choose to remember. My aunt, who remembered her childhood and was interviewed by a Holocaust oral history project, has kept few mementos of her past. My mother, who wanted to forget everything, never threw anything out. Artifacts became her externalized memory. She treasured letters from her parents, photographs, the autograph book from the Jewish school she attended in Nuremberg. And she kept the train set for us to play with. Only it was lost somewhere in the house, the train set. When my mother lay dying of lung cancer she said to my brother and me, as we sat on the very same scratchy blue couch we had played trains under as children, "I wonder where those trains are?"

Ten months after my mother's death, my brother unearthed the train set in the garage, hidden among decorations. The trains sat in the box they were shipped in that long ago summer of 1960, the customs label from West Germany still attached. The lost train set waited, abandoned, its little engines frozen, its tracks rusty. A friend lubricated the engines and sanded the tracks. The cars roared in a tiny circle around my friend's wide feet on the kitchen floor.

Trains—real ones and tiny ones. I traveled home on a big train, feeling like Gulliver as Amtrak crawled up dry hills past cows that resembled models. I returned home to the Internet and googled myself into the past, to discover that collectors treasure Doll Co.'s model steam engines. On my computer screen, three logos for Doll Co. materialized, the letters D and C tucked into each other. I was logged into John O'Rear's Model Steam Engine website in Kentucky. I clicked on the photo of a Doll steam engine and read:

The Doll [Bein] family held out longer than most Jewish owned businesses, but finally sold out in 1938 to Fleischmann. Curiously enough, the Fleischmann family was also of Jewish origins, but managed to obtain an 'Aryan' certificate, whereas Doll did not. From there it appears that at least some of the [Bein] family did survive the war, either by leaving the country or possibly by hiding in Germany. I would still very much like to hear any other information regarding the family, especially what became of them after the war.

The Internet is a strange place. A software engineer in the hills of Kentucky was wondering what had happened to my family. And this was the first time I had heard that the Fleischmann family may have been of Jewish origin. Feverishly, I fired off an email:

Dear John O'Rear:

I was rather astounded to find your wonderful website. I am the granddaughter of Max Bein, who was the last owner of Doll Co in Nurnberg. I live in Santa Cruz, California and have been researching my family's history . . ."

John wrote back almost immediately:

It is interesting where hobbies and interests can lead you. I was first attracted to the Nuremberg steam models for their elegance and Edwardian charm. As a non-Jewish person, I had been taught about the Holocaust but the sheer tragedy of it just didn't register. Who was it that said a single death is a tragedy, a million deaths is a statistic? It was not until I learned the fate of the Nuremberg families that the true nature of the Holocaust became evident. It acquired a human face, quite a few faces. And this has led me to a quest, to find out what became of the Nuremberg families. For if this story put the Holocaust in human terms for me, it can do so for others as well.

John provided me with a possible clue as to the relationship between my family and the Fleischmann family. I do not know how unusual it was for the families who appropriated Jewish businesses to keep up a relationship with the Jews who had previously owned their property. Does the Fleischmanns' possible secret Jewish background explain this ongoing connection? In my mother's papers I found a letter from 1956 in which my grandmother writes about the dinner she cooked for the Fleischmanns when they came to visit Boston. They spent a hot May evening reminiscing about Nuremberg. And I think of the silver cookie tin we kept on top of the refrigerator. Like the train set, I did not know its true history when I was a child. This tin had been sent by the Fleischmans to our family, filled with gingerbread. My mother filled it with brownies made from Betty Crocker brownie mix. It rattled when I stole a brownie, giving away my secrets.

Cookies, train sets, dinners. Tours of the factory for my aunt and myself. (My mother never desired to return to Nuremberg.) Perhaps the cookies and toys are an expression of guilt, or perhaps the Fleischmanns have lived for sixty years in fear that we will sue them and try to get the factory back and think gingerbread and gifts will stop us. Or maybe Max and Horst and Emil were friends before the war and they sat out on the street on warm afternoons and shared sandwiches wrapped in wax paper, swapped stories about the business. Maybe the younger Fleischmanns are hidden Jews who, like my brother and me, did not grow up aware of their Jewish background.

I wrote to John O'Rear again and received an exquisite email detailing what was so special about my grandfather's steam engines:

Dear Irene,

Let me try to put into perspective the marvelous creations that your grandfather built. Around the turn of the century, Nuremburg was known as the metalworking capital of the world. The finest machinists lived there, and perfected techniques seldom used in the rest of the world. And only the best of the best were hired to build the high end steam models. What one finds in the better Nuremburg steam engines is the pinnacle of precision mechanical models, with a level of quality and finish that was unequalled in its day, and virtually unknown today. The models are very special, living examples of turn of the century elegance. You simply cannot find craftmanship like that today. These were not toys, nor were they simply a working model of a steam engine. In reality, they were a form of sculpture, one that stretched the limits of what can be done with metal.

What John has returned to me is not only pride in my grandfather and great uncle's artistry, but also a glimpse of the full lives they lived before the terror of the Nazi regime. I log on to ebay, consider purchasing one of my grandfather's steam engines from a collector. Can I buy back my history?

Finally I wrote to the Fleischmanns themselves, and asked them to share whatever information they could with me. Weeks passed. They did not answer. So many silences, silences between my mother and her two children, between two families, between Germans and Jews.

The underside of history seeps up though the gingerbread toy city.

The train set still waits in its box. My cousin Jacob is only three, not old enough yet to play with it. He is Max's great-great grandson. Unlike me, he knows he is a Jewish child. Unlike me, I want him to understand its history, what it is he is playing with.

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