Eva Mozes Kor, the Scheisskommando, and the Cost of One More Day

From 2013 to 2017, I traveled with Holocaust survivor and Mengele Twin Eva Mozes Kor, following her story across Poland, Hungary, and Romania. I wanted to learn, not just from her words, but from the places themselves. I walked the dirt roads where she grew up in Romania, stood on the concrete where her family waited to be shoved into cattle cars in Șimleu Silvaniei, and pressed my hand against the cold stone of Block 10 in Auschwitz, where Dr. Mengele once looked down at her and said, “It’s a shame she’s so young. She only has a couple weeks to live.”

Eva never told me what to think. She never tied things up neatly. She only asked me to look, to listen, to understand: survival, real survival, was never just about strength. It was in the details. The ability to step over a dead body and keep moving, because stopping meant risking your own. The skill of slipping a potato from the commissary without getting caught. The discipline to dissociate, not from the rats that scurried over her at night, but from the fear of them, because sleep was necessary, and fear could not be allowed to strip her of the strength sleep afforded her.

It’s easy to imagine survival as something straightforward, a matter of strength or willpower. But in Auschwitz, survival was a negotiation, a constant weighing of the impossible.

“What would you do to survive? You can’t really know until your life is actually in danger. It was easy to die here. Survival took every ounce of strength you could muster.”

Standing in the humid summer breeze at Auschwitz-Birkenau, I contemplated Eva Kor’s words.

It is easy to die. It is difficult to live. Life is fragile. We come from the dust and to the dust we return. Beginnings and endings are consistently marked by celebration, comedy, tragedy, and pathos. Middles are different. The middle of a thing is where the human spirit grows. Middles churn with questions, collide with conflicting purposes, strain toward progress, and wrestle with the weight of stagnation.

Birkenau was an epicenter where middles and endings met. Survival was not simply a contest won by the fittest. It was a succession of choices; choices that rang in the soul of each individual, like the sound of a train dragging its way through the countryside on tracks of steel. Some survived by cultivating their minds to be like the birds that flew above the blood and mire. Some survived by making themselves useful. Some survived by climbing into a trough of human waste to escape the eye of the enemy. Because even here, in filth, there was something worth grasping, something worth staying alive for.

Latrines: A Place of Filth and Refuge

The Nazis allowed prisoners two visits to the latrines per day, one in the morning, one in the evening. That was it. The rest of the time, men, women, and children had to relieve themselves wherever they stood. The ground they walked on bore witness to their labor, their suffering, and the last remnants of their dignity.

The air of Birkenau was thick with an unholy stench: human waste, rancid sweat, the sharp tang of blood, and the sickly-sweet rot of decay. It clung to the skin, crawled into the lungs, and settled deep in the gut like a living thing, an inescapable reminder that suffering here had a scent. And with every breath, sickness followed. Dysentery oozed through the camp, rotting stomachs from the inside out, turning each bite of watery broth into a calculated risk, each swallow a step closer to collapse.

And yet, there was an odd paradox: working in the latrines was considered one of the best jobs in the camp.

Imagine a world where standing in human waste meant protection. In Auschwitz, it did.

The Paradox of the Latrine Workers

The latrines were a guard-free zone. And so, in this rancid, airless place, there was something invaluable: privacy.

For those assigned to the latrines, the absence of guards offered a rare and fragile freedom. In the stench and shadows, prisoners bartered stolen scraps, exchanged whispered news, and conspired in low voices. Some sought fleeting moments of physical intimacy, an urgent defiance against a world that had stripped them of choice. In a place built to erase them, the latrines became one of the few spaces where prisoners could still claim their own existence.

Here, in the thick of filth, they remembered they were still human.

The Work of the Scheisskommando

Their job was simple: lift the heavy concrete slabs covering the waste pits, lower themselves inside, and scoop out the accumulated filth.

If you’ve ever gagged while cleaning out your refrigerator after leaving leftovers for too long, imagine standing waist-deep in a sea of decay. The air was thick, humid, and alive with flies. The stench coated everything, clinging to their skin and settling into the creases of their clothes like an unshakable second skin.

But for those who had this job, it was a lifeline. They weren’t being worked to death in the fields. They weren’t being lined up for random executions. They weren’t subjected to the relentless gaze of the SS officers who delighted in tormenting prisoners for sport.

The latrines, for all their horrors, offered something rare in Auschwitz: predictability.

A Dignity That Refused to Die

Powerlessness is a disease that seeps into the soul. Strip away respect, dignity, and basic rights, and two things happen: the perpetrator swells with power, and the victim shrinks.

Allowing prisoners to stand ankle-deep in their own filth was not just a byproduct of poor sanitation, it was an act of control. The SS guards didn’t have to lift their legs and urinate on the prisoners to show their dominance. They merely had to stand still while the prisoners did it to themselves.

But in the darkest places, even where dignity was supposed to die, the will to live persisted. The latrine workers of Auschwitz-Birkenau found ways to carve out a space for themselves, to steal back fragments of their humanity, to keep moving forward when everything around them said they should fall.

Consider if you will, a woman falling from the sky into the deep ocean. She is surrounded by foreign creatures, disoriented by the sounds and weight of the water. She is not a fish. She has no gills. The water is her enemy. It presses on her lungs, reminding her with each second that this place does not belong to her.

She has a choice. She can panic and sink, or she can swim.

This is the paradox of survival. This is the choice of the Scheisskommando.

The Final Question

Eva Mozes Kor once asked a group of people this question as we stood inside a latrine at Birkenau:

“How many of you could survive here? What would you do to survive?”

Survival in the death camps was never about dignity. The prisoners carried that within them, untouchable even in the face of brutality. What was at stake was something else entirely. Life in exchange for one more day. Hopelessness held at bay for a sliver of hope. The certainty of an ending deferred, just long enough to stay in the middle a little longer.

We like to think we know ourselves. That in the face of unspeakable horror, we would know what to do. That we would have a plan. A way to resist. A way to bring order to chaos.

But the truth is, we don’t know.

We can’t know.

Not until we’re the ones at the edge of the pit, staring into the void.

Not until survival is no longer a question, but the only thing left.

© Jill Szoo Wilson, 2025

Sonnet: In Defense of Imperfection

This sonnet is inspired by Edgar Allan Poe’s famous quote, “There is no exquisite beauty without some strangeness in the proportion,” from his short story “Ligeia.” In Poe’s tale, the beauty of the mysterious woman Ligeia is entwined with an otherworldly, unsettling strangeness, thus highlighting the idea that beauty often thrives in imperfection.

The sonnet explores this concept, celebrating the beauty found in things that are off-center, crooked, and flawed. It suggests that it is the very strangeness of these things that makes them remarkable and worthy of our time and attention.

There is no beauty forged in flawless light—
It twists where shadows linger at the seam.
A crooked branch may catch the morning right
And cast the roots of wonder into dream.

A freckled rose, off-center in its bloom,
Will hold the gaze far longer than the best.
The stars are never silent in their room;
They flicker strange and waken eyes at rest.

The pearl was born from pressure, pain, and grit.
The sea’s rough hand gave shape to something rare.
So let the world tell tales of perfect wit—
I’ll choose the crooked with a bend that’s fair.

For beauty, true, is never fully tamed—
Its strangeness is the reason it is named.

© Jill Szoo Wilson, 2025

Poem: Unzipped

Born into the beauty of Spring

Between a fog-covered morning and

Daffodils breezily performing

A ballet in minor keys

She was touched first by the sun

Tenderly

Warmly

Our greatest star floated down

Like a blanket,

Covering.



Her mother was gentle

Hands soft and graceful—

Rose petals against her fingers

Blushed in their inadequacy

To soothe pain

With placid refrains of

Touch

Sliding down from

Cheeks to chins

With whispers thin.



Her father worked the fields

Gathered to his chest

The yields he nurtured

From seeds into

Future nourishment

Carried

In straw-colored baskets

To a town where

Eyes lit with hellos and

Hands shook with goodbyes.



Buried deep inside

The beauty young

A grain of aberration was planted—

Roots grew long and

Slanted downward

Spreading wide

Like awns on Wheat

Piercing delicate organs

Changing the beat

Of her sunflower heart.



Melancholia filled the pasture

Of her mind

A harvest inward

Pulling

Watered by heredity

Drowned in mystery

Tears stagnant

Hidden

Breeding mosquitos

Draining from within.



Born into the beauty of Spring

She lived in the landscape of Winter

Bracing against snow-filled torrents

Of frozen joy—

A sculptor of ice into smiles

A painter of masks

Detailing profiles

Desperate to delight

Those she could not disappoint—

Ashamed to bare only flickering light.



Her mother named her Bliss

Her father called her Life

They held her hands

Through seasons passing

Interlocked their fingers

With her plans

Held her high for every eye

To marvel and admire

Proud of the child, the woman

They knew her to be.



Her outside

Belied

Silent cries—

A contrast of

Cheerful attainment to

Sorrowful containment

Wrenching from

The wish to please

To the reality of

Brokenness.



As Autumn sang

Its songs of change

She unzipped her disguise

Let her discrepancy fall

And her hopelessness rise—

A coffin soft

Burlap and heavy

She sunk into the shadow

Where finally she could hide

From sunshine and from lies.

© Jill Szoo Wilson, 2016

Beauty and Destruction in the Work of Sam Shepard: A Theatrical Collision

By Jill Szoo Wilson

Introduction

In the plays of Sam Shepard, beauty and destruction are not opposing forces so much as interdependent elements, continually coexisting, colliding, and reconstituting one another. His characters, often broken men in desolate landscapes or fraying domestic spaces, search for transcendence but are tethered to the ruins of family, memory, and myth. This essay explores Shepard’s use of beauty and destruction as thematic counterpoints and mutually generative forces in works such as Buried Child (1978), True West (1980), and Fool for Love (1983). In Buried Child, a child’s corpse buried in the backyard serves as a symbol of familial disintegration that resurfaces through surreal harvests. In True West, the kitchen becomes a battleground where toast and typewriters fly, and in Fool for Love, the rhythm of two doomed lovers is rendered audible through physical contact with a set built from drum skin. Each play demands intense physical and emotional presence, and together they form a trilogy of destruction drawn in poetry, silence, and sound. This essay considers the structural and performative demands these themes place on both text and actor.

In contrast to playwrights who treat destruction as a moral end or beauty as a redemptive balm, Shepard constructs a theatrical world in which the two often co-occur. In Shepard’s work, we see raw violence framed in lyricism and spiritual longing undercut by physical collapse. His stage directions read like prose poems. His dialogue pulses with the tension of characters reaching for something sublime while pulling the trigger on their own undoing. This paradox resonates deeply with the teachings of Sanford Meisner, who insisted that “acting is the ability to live truthfully under imaginary circumstances.” In Shepard’s imaginary worlds, the truth is frequently unbearable and, at the same time, luminous.

Destruction as Inheritance — Buried Child

In Buried Child, Shepard excavates the American family mythos, exposing its rotted core beneath the pastoral iconography of the Midwest. The play opens with Dodge, an alcoholic patriarch, coughing on a couch while rain lashes the windows of his decaying farmhouse. The setting is already decomposing; destruction is not merely happening, it has happened, and its aftermath persists like mold on the American Dream.

What makes this destruction poetic rather than gratuitous is Shepard’s language. Dodge’s sardonic wit and Tilden’s fractured monologues evoke a kind of haunted beauty. When Tilden carries in freshly harvested corn and carrots, impossibly, from land long presumed fallow, the vegetables function as both an eerie miracle and a symbol of buried truth. The farm yields again, but only as a sign that the past cannot stay buried.

This return of growth serves as a central metaphor in the play: the truth, once buried, has taken root. It now pushes upward in ways the characters cannot fully comprehend or control. The new growth is ambiguous—both miraculous and monstrous, both a sign of life and a symptom of rot. As the character Shelly remarks, “You can’t force a thing to grow.” Her observation, offered with both innocence and frustration, frames one of the play’s central tensions: the futility of control. What has been buried, especially when traumatic or unacknowledged, does not remain dormant. It germinates in silence, demanding recognition. The corn and carrots become emblems of this paradox in that the land produces life not in celebration, but in indictment. The soil remembers.

As acting theorist Uta Hagen writes in Respect for Acting, “the objective must always be rooted in the truth of the moment, however elusive that truth may be.” In Buried Child, the actor’s task is to embody emotional disorientation within a physical world that no longer obeys rational laws. The characters’ denial of the unspeakable crime (an incestuous child murdered and buried in the backyard) structures their entire relational dynamic, making truth both the threat and the only possible redemption. Destruction in this play is not explosive but ambient; it lingers, infects, and ultimately demands to be unearthed. When Dodge mutters, “He’s not dead. He’s lying out there in the rain,” or when Tilden brings in armfuls of crops and states flatly, “I picked it. I picked it all,” the audience begins to grasp the scale of denial wrapped in ritual and decay. The crime at the heart of the family has not simply been buried; it has become atmospheric, altering everything it touches.

Beauty on the Brink — True West

If Buried Child presents destruction as something buried within the familial structure, True West stages it as a volatile performance, immediate, escalating, and bound by an unstable intimacy. The play centers on two estranged brothers, Austin and Lee, whose identities slowly collapse into one another in a taut, absurdist spiral. Their interactions shift from passive aggression to full-blown physical chaos, culminating in a nearly feral regression.

What emerges, paradoxically, is a strange kind of beauty: a dark symmetry between the brothers, a primal dance of dominance and dependence. Their chaotic exchanges echo Meisner’s call for emotional truth: “Don’t do anything until something happens to make you do it.” Every gesture in True West is reactive, impulsive, and dangerously real. The play becomes a study in what happens when actors are fully present within characters who are fully unraveling.

In one of the play’s quieter yet more hauntingly resonant moments, Austin asks his mother if he can take some of her china with him into the desert. The request, almost absurd given the play’s building chaos, reflects a deeply human impulse: to carry something civil, refined, and domestic into a wild and untamed place. It is a moment of tragic tenderness. Austin, whose identity has begun to dissolve under the pressure of his brother’s presence and the unraveling of his life, tries to hold on to something emblematic of order. The china becomes an anchor, a symbolic plea for beauty in a world rapidly losing form. But the attempt to impose civility on chaos is ultimately futile.

This desire to preserve the daily rituals of safety, represented by dishes, meals, and domestic customs, is swallowed by the very wilderness he is stepping into. The destruction of the daily order becomes, paradoxically, an act of liberation: a refusal to replicate the emotional sterility and performative masculinity modeled by their father. Their unraveling, though chaotic, is also an act of anti-inheritance. It’s a way of rejecting the rigid, lifeless structures passed down to them. In destroying the structure, the brothers reach, however destructively, for something that might be more authentic.

Their final confrontation, circling each other with cords and toasters, lit in a harsh wash of kitchen light, culminates not in resolution but in a mutual snarl of recognition. As the lights go down, they are frozen, both caught in mirrored stances, each a grotesque reflection of the other. The beauty here is not in their harmony but in the stark exposure of their inherited chaos. It is the raw, unvarnished honesty of the moment—the shedding of illusion, the physical embodiment of the emotional lineage they have both tried to escape—that becomes beautiful. In seeing themselves reflected in each other’s ruin, they finally confront the truth that has been simmering beneath the surface all along. The symmetry is terrible, but it is real. In Shepard’s world, reality, no matter how brutal, carries its own strange and terrible grace.

Shepard writes the destruction of these men with startling elegance. Their violence is framed in precise stage directions and taut, almost musical dialogue. Beauty resides not in the content of their actions, but in the way the play choreographs collapse with clarity and control. The kitchen, once a place of order and domesticity, becomes the site of total disorder. Toast burns, typewriters smash, and identities merge. And yet, in this implosion, Shepard captures something elemental: the deep, even mythic pull toward self-annihilation in the search for meaning.

Desire on the Edge of Ruin — Fool for Love

In Fool for Love, Shepard explores the entanglement of beauty and destruction through the lens of obsessive love. The play unfolds in a Mojave motel room where May and Eddie, bound by shared history and irrevocable desire, attempt to extricate themselves from a relationship that has long since passed the point of salvation. Their love is violent, cyclical, and relentless: a collision of longing and despair.

Here, destruction takes the shape of repetition. Eddie leaves, returns, makes promises, and breaks them. May pulls away, only to be drawn back in. Their intimacy is a closed circuit, sparking and sparking but never resolving. The presence of Martin, a well-meaning outsider, introduces a strategic third element, used by May to reestablish her autonomy and disrupt the intensity between herself and Eddie.

Martin becomes a foil, not only to Eddie but to the rhythm of the couple’s collapse. He functions less as a romantic rival and more as a symbol of distance, a grasp at sanity, and an invitation to something less volatile. In Martin’s calm and steadiness, Eddie’s chaos becomes unmistakable, and for a moment, May can see it for what it is and see herself as someone who might choose differently.

In one unforgettable scene, Martin asks simple questions—about Eddie, about the past—but is met with silence or deflection. He becomes a quiet observer, watching the frayed edges of a relationship he cannot fully comprehend. When Eddie returns with rope and a motel bedpost in mind, Martin shifts from passive guest to unwitting witness, positioned just outside the emotional violence unfolding before him. His bafflement mirrors the audience’s own, offering a point of contrast: where Eddie and May are entangled in a closed circuit of obsession, Martin represents the rational world. He is detached, orderly, and unprepared for the depth of their volatility. In this way, Martin’s presence underscores the gulf between emotional entrapment and emotional clarity.

The language of the play is undeniably beautiful. Shepard allows lyricism to rise through the violence, crafting lines that vibrate with poetic realism. In the original production, that lyricism was made visceral through sound. The set design included walls made of stretched drum material, allowing the actors to fall against, roll against, and hit the surfaces. Their bodies created percussion with each physical interaction resonating audibly in the space. In one key moment, May launches herself against the wall in anguish, and the reverberation stuns both the audience and her scene partner, making the violence not just visible but visceral. The drum-like resonance blurs the line between action and underscoring, allowing the architecture itself to speak the unspeakable. The walls held their pain, amplified their pulses, and gave form to the emotional choreography that defined their bond. In this way, the set itself became an instrument, conducting the music of destruction.

Uta Hagen reminds us that “the best performances are those in which the actor ceases to act and begins to live.” Fool for Love demands exactly that. The actors must inhabit emotional extremes without ever veering into melodrama. They must make devastation look inevitable but never rehearsed. It is step by step that Eddie and May unravel. The characters are not caricatures of dysfunction; they are portraits of the human impulse to chase beauty (love) even when it leads to ruin.

Conclusion

In Shepard’s theatrical universe, beauty is never pristine, and destruction is rarely complete. The two are fused in an uneasy duet with one rising through the other, undoing and remaking what came before. His characters do not simply live in the aftermath of chaos; they create it, inherit it, resist it, and remake themselves through it. They destroy what they love in the same breath that they reach for transcendence. Truth, in this world, is not a final destination but something that emerges only through rupture and rebirth.

For actors, Shepard’s work is both an invitation and a crucible. It demands presence without pretense, risk without rehearsal, and emotional exposure without easy catharsis. As Sanford Meisner reminds us, the actor’s task is to live truthfully under imaginary circumstances, and in Shepard’s plays, those circumstances are often brutal. The performer must inhabit contradictions so fully that they cease to be contradictions and become character. For audiences, the reward is a visceral encounter with the kind of upheaval that often defines real life, rendered before them with clarity, immediacy, and form. Shepard’s plays are not about fixing what’s broken. They are about what is revealed when the breaking is allowed to speak.

If you’d like to keep reading more essays like this, you can also find me on Substack: https://substack.com/@jillszoowilson