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Teaching the Holocaust and other Genocides
 
Created in collaboration with the Holocaust & Human Rights Center, the NYS Education Department, and the NYS Archives Partnership Trust.

None Of Us Will Return

by Charlotte Delbo 

Charlotte Delbo, a non-Jewish French woman and activist in the French Resistance, was imprisoned in Auschwitz in January 1943. She spent the remainder of World War II in concentration camps, surviving to become a powerful writer of prose and poetry. Delbo passed away in 1985. 

Her poem “Arrivals, Departures”, part of a larger collection bearing the same title, uses the imagery of a train station to metaphorically depict Auschwitz. The poem captures the psychological and emotional devastation of the Holocaust, blending poetry and prose to convey the fragility of memory, the weight of trauma, and the omnipresence of death. Even the title itself serves as a haunting declaration, foreshadowing the loss and despair that suffuse its verses. 

Delbo’s work does not merely recount historical events; instead, it immerses readers in the harrowing reality of life in the camps, where time seems to dissolve and existence is reduced to suffering. Her language is both stark and lyrical, evoking the physical horrors of Auschwitz alongside the internal fragmentation endured by survivors. The poem grapples with the paradox of memory: the obligation to remember the dead while acknowledging that words can never fully capture their absence. 

A central theme in None of Us Will Return is the dehumanization suffered by prisoners, as Delbo’s verses reveal how the camp stripped individuals of their identities, reducing them to mere numbers and shadows of their former selves. Yet, amid this profound loss, her poetry serves as an act of defiance—by bearing witness, she ensures that those who perished are not forgotten. Her work stands as a testament to both the resilience of the human spirit and the unyielding scars left by trauma. 

Ultimately, None of Us Will Return transcends mere reflection on suffering, offering a profound meditation on memory and survival. Delbo’s words compel readers to confront the horrors of history not as distant tragedies but as visceral, lived experiences that continue to shape our understanding of humanity. Through her evocative and poignant poetry, she ensures that the voices of the lost endure, making her work an essential piece of Holocaust literature. 

None of Us Will Return

STREET FOR ARRIVALS, STREET FOR DEPARTURES  

There are people arriving. They scan 

the crowd of those who wait seeking those who wait for 

them. They kiss them and they say that they are tired from 

the journey. 

There are people leaving. They say good-by to those who 

are not leaving and they kiss the children. 

There is a street for people arriving and a street for 

people leaving. 

There is a café called "Arrivals" and a café called "Departures." 

There are people arriving and there are people leaving. 

But there is a station where those arriving are the same 

as those leaving 

a station at which those arriving have never arrived, to 

which those leaving have never returned 

it is the biggest station in the world. 

This is the station at which they arrive, wherever they 

come from. 

They arrive here after days and nights 

after crossing whole countries 

they arrive here with children, even babies, who were not 

supposed to have been taken 

They have brought their children because you do not part 

with children for this journey. 

Those who had gold brought it along because they thought 

that gold might be useful. 

Everyone brought his dearest possession because you must 

not leave what is dear to you when you go far away. 

Everyone has brought his life along, above all it was his 

life that he had to bring along. And when they arrive 

they think they have arrived in Hell 

possibly. Still they did not believe it. 

They did not know that you could take a train to Hell 

but since they are here, they steel themselves and feel ready 

to face it 

with women, children, aged parents 

with family keepsakes and family documents. 

They do not know that you do not arrive at that station. 

They expect the worst-they do not expect the unthinkable. 

And when the soldiers shout to them to line up by fives, 

men on one side, women and children on the other, in a 

language they do not understand, they understand the blows 

of the truncheons and line up by fives since they are ready 

for anything. 

Mothers clutch their children-they shudder at the thought 

that the children might be taken away from them-because 

the children are hungry and thirsty and crumpled from not 

having slept across so many lands. At long last they are 

arriving, they will be able to take care of them. 

And when the soldiers shout to them to leave bundles and 

blankets and keepsakes on the platform they leave them because

they ought to be ready for anything and do not wish 

to be surprised at anything. They say "We'll see"; they have 

already seen so much and they are tired from the journey. 

The station is not a station. It is the end of a line. They 

look and they are stricken by the desolation about them. 

In the morning, fog hides the marshes. 

In the evening, spotlights illuminate the white barbed-wire 

fences with the sharpness of stellar photography. They believe 

that this is where they are being taken, and they 

are terrified. 

At night, they wait for daylight with the children weighing 

down their mothers' arms. Wait and wonder. 

In the daytime they do not wait. The lines start moving 

right away. Women and children first, they are the most 

weary. The men next. They are also weary but relieved that 

wives and children are being taken care of first. 

For the women and children always go first. 

In the winter they are gripped by the cold. Especially 

those who come from Crete. Snow is new to them. 

In the summer the sun blinds them as they step down from 

the dark boxcars that were sealed shut at the start of journey. 

At the start of the journey from France from the Ukraine 

from Albania from Belgium from Slovakia from Italy from Hungary

from the Peloponnesus from Holland from

Macedonia from Austria from Herzegovina from the shores of the 

Black Sea from the shores of the Baltic from the shores of 

the Mediterranean and from the banks of the Vistula. 

They would like to know where they are. They do not 

know that this is the center of Europe. They look for the 

name of the station. It is a station without a name. 

A station which for them will never have a name. 

There are some who are traveling for the first time 

their lives. 

There are some who have traveled to every part of the 

globe, businessmen. All landscapes were familiar to them but 

they do not recognize this one. 

They look. Later on they will be able to tell how it was. 

Everyone wants to recall what his impression was and how 

he had the feeling that he would never return. It is a feeling one might have had already in one's life. 

They know feelings should not be trusted. 

There are those who come from Warsaw with big shawls 

and knotted bundles 

those who come from Zagreb, women with kerchiefs on 

their heads 

those who come from the Danube with garments knitted 

by the hearth in multicolored yarns 

those who come from Greece, bringing black olives and 

Turkish Delight 

those who come from Monte Carlo 

they were in the casino 

they are in white tie with shirt fronts that the journey has 

completely ruined 

pot-bellied and bald 

they are bankers who played at banking 

newlyweds who were leaving the synagogue with the bride 

dressed in white, wearing a veil, all wrinkled from lying on the floor of the boxcar 

the bridegroom dressed in black and top hat with soiled gloves 

the relatives and guests, women with beaded bags 

who all regret that they were not able to stop off at their 

homes and change into something less fragile. 

The rabbi holds his head up high and walks first. He has 

always set an example for the others. 

There are little girls from boarding school with their identical pleated skirts and their hats with blue  

streamers. They pull up their stockings carefully as they alight. They walk 

demurely five by five as though on a Thursday outing, 

holding one another by the hand and not knowing. What can 

they do to little girls from boarding school who are with 

their teacher. The teacher tells them: "Be good, children." 

They have no wish not to be good. 

There are old people who have had news from their 

children in America. Their knowledge of foreign lands came 

from postcards. Nothing looked like what they see here. Their 

children will never believe it. 

or 

There are intellectuals. Doctors or architects, composers 

poets, recognizable by their walk, by their glasses. They 

too have seen a great deal in their lifetimes. They have studied 

lot. Some have even imagined a great deal in order 

write books and nothing they have ever imagined resembles 

what they see here. 

 There are all the furriers of the big cities and all the 

gentlemen's and ladies' tailors all the clothiers who had emigrated to the West and who do not  

recognize in this place 

the land of their forebears. 

There are the inexhaustible multitudes of the cities where 

each man occupies his own pigeonhole and now in this place 

they form endless lines and you wonder how all that could 

fit into the stacked pigeonholes of the cities. 

There is a mother who slaps her five-year-old because he 

does not want to give her his hand and because she wants 

him to keep still at her side. You run the risk of getting lost 

you must not become separated in a strange place in such 

crowd. She slaps her child and we who know do not forgive 

her for it. Besides it would make no difference if she were 

to smother him with kisses. 

There are those who journeyed eighteen days who went 

mad and killed one another in the boxcars and 

those who had been suffocated during the journey because 

they had been packed in so tightly 

of course they do not get off. 

There is a little girl who hugs her doll to her heart, you 

can smother dolls too. 

There are two sisters in white coats who went out for a 

walk and did not return for dinner. Their parents are still 

worrying. 

In ranks of five they move along the street for arrivals. 

They do not know it is the street for departures. You only 

pass this way once. 

They move in strict order-so that you cannot fault them 

for anything. 

They come to a building and they sigh. At last they have 

arrived. 

And when the soldiers shout to the women to strip they 

undress the children first taking care not to wake them up 

completely. After days and nights of travel they are fretful 

and cross 

and they begin to get undressed in front of their children, 

it can't be helped 

and when the soldiers hand each one of them a towel they 

worry if the water in the shower will be warm because the 

children might catch cold 

and when the men come in to the shower room through 

another door naked too the women hide their children 

against their bodies. 

And then perhaps they understand. 

And it is useless for them to understand now since they 

cannot tell those who are  waiting on the platform 

cannot tell those who are riding in the dark boxcars across 

all the countries on the way here 

cannot tell those who are in detention camps and are apprehensive about their departure because they fear the climate 

or the work and because they are afraid of leaving their belongings 

cannot tell those who are in hiding in the mountains and 

in the woods and who no longer have the patience to stay 

in hiding. Come what may they will return to their homes. 

Why would they be taken away from their homes they have 

never done any harm to anyone 

cannot tell those who did not want to go into hiding because you cannot go and leave everything 

cannot tell those who thought they had put their children 

in a safe place in a Catholic boarding school where the 

sisters are so kind. 

A band will be dressed in the little girls' pleated skirts. 

The commandant wants Viennese waltzes on Sunday mornings. 

A blockhova, to give her window a homey touch, will 

make curtains out of the holy cloth the rabbi wore so that he 

would be ready to perform services no matter what happened 

wherever he might be. 

A kapoi will dress up in the morning coat and top hat 

and her girlfriend in the veil and they will play bride and 

groom at night when the others have collapsed in their 

bunks from exhaustion. The kapos can have a good time they 

are not tired in the evening. 

Black olives and Turkish Delight will be distributed to the 

German women prisoners who are sick, but they do not like 

Kalamata olives nor olives in general. 

And all day and all night 

every day and every night the chimneys smoke with this 

fuel from all the countries of Europe 

men assigned to the chimneys spend their days sifting the 

ashes to recover melted gold from gold teeth. They all have 

gold in their mouths these Jews and they are so many that 

it makes tons. 

And in the spring men and women spread the ashes on 

the marshes drained and plowed for the first time and fertilize the soil with human phosphate. 

They have bags tied to their bellies and they stick their 

hands into the human bone meal which they scatter by the 

handful over the furrows with the wind blowing the dust 

back into their faces and in the evening, they are all white 

with lines traced by the sweat that has trickled down over 

the dust. 

And no fear of running short train after train arrives they 

arrive every day every night every hour of every day and 

every hour of every night. 

It is the biggest railway station in the world for arrivals 

and departures. 

It is only those who go into the camp who find out what 

has happened to the others and who weep at having left 

them at the station because that day the officer ordered the 

younger people to form a separate line 

there has to be someone to drain the marshes and to scatter 

the ashes of the others 

and they say to themselves that it would have been better 

never to have entered and never to have found out. 

You who have wept for two thousand years 

for one who suffered three days and three nights 

what tears will you have 

for those who suffered 

many more than three hundred nights and many more than 

three hundred days 

how much 

will you weep 

for those who suffered so many agonies 

and they were countless 

They did not believe in resurrection to eternal life 

And they knew that you would not weep. 

Discussion Questions

  1. What is the significance of the imagery of the “biggest railway station in the world” in the passage? How does it contrast with traditional ideas of arrival and departure? 
  2. How does Delbo use repetition in this passage to emphasize the inevitability and vast scale of the deportations? 
  3. What is the effect of listing the many countries and cities from which the prisoners came? How does it contribute to the universality of their suffering? 
  4. How does Delbo portray the psychological state of the prisoners upon arrival? What expectations do they have, and how do those expectations contrast with reality? 
  5. How does Delbo use imagery of family, particularly mothers and children, to evoke an emotional response in the reader? 
  6. What is the significance of objects such as gold, keepsakes, and family documents in the passage? What do they symbolize for the prisoners? 
  7. How does Delbo use sensory details (sight, sound, touch) to immerse the reader in the experience of arrival at Auschwitz? 
  8. What is the significance of the description of the showers and the prisoners’ initial misunderstanding of what is happening? How does this moment build tension? 
  9. How does Delbo contrast different social and cultural groups (intellectuals, businessmen, newlyweds, schoolgirls, rabbis) to emphasize the indiscriminate nature of deportation? 
  10. The passage ends with a reference to suffering and the lack of weeping for the victims. What is the significance of this final reflection, and how does it challenge the reader’s sense of historical responsibility?