Hannah Kritzman: The Storyteller of Kibbutz Be’eri

At age 15, Hannah Kritzman ran away from home to Kibbutz Be'eri, where she became a beloved preschool teacher and founded the local children's library. 73 years later, on October 7, after spending hours hiding with her caregiver in her safe room, Hannah was shot by a Hamas terrorist, just as the two were being rescued. The memoir she completed shortly before her death offers us a glimpse of what a wonderful woman she was.

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A few months after Hannaleh Kritzman, the legendary storyteller of Kibbutz Be’eri, wrote down her life story and celebrated its publication, her family had to add the following preface to it:

Hannaleh Kritzman was shot in Kibbutz Be’eri by Hamas terrorists on the awful Saturday of October 7, 2023. She died from her severe wounds on October 21, 2023. She was 88 years old at the time of her murder.

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88-year-old Hannah, or “Hannaleh”, Kritzman was one of the oldest victims of that fateful day in October 2023. Her family took some comfort in the knowledge that Hannah had lived a full life. A few months earlier, they had managed to publish an autobiographical memoir celebrating her life. The Story of the Storyteller” was its title. “I’m so glad we managed to finish the project while she was still alive,” says her son, Tzafrir Keren. “She was happy and proud of it. We organized a special celebration for the entire family, where she handed out a copy with a dedication to each of her children and grandchildren.”

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Sipurah shel Mesaperet HaSipurim – “The Story of the Storyteller” – Hannah Kritzman’s book, Ot Vaod Publishing

The book, written at the initiative of her children and recounting the story of her life, is a memento of the special woman she was, who so loved books and stories. They suggested to their parents that both of them should write down their life stories for future generations. Their father refused, but Hannaleh threw herself into the process. For several months, she sat in the living room of her home in Kibbutz Be’eri, working with the author, Eli Khalifa, as the two wove her life story together.

חנוכת הספר כל המשפחה המורחבת
The book launch event for Hannaleh’s book with the entire extended family, March 2022. From a private album

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Running Away to a Kibbutz? – “Over my dead body!”

Hannaleh spent her early years of her life in a place that was very different from the place where it ended. She was the eldest of five siblings, born to a low-income family in the Florentin neighborhood of Tel Aviv. The family of seven shared their modest two-room apartment with another family. She inherited her love of stories from her parents, who would tell their children stories while they huddled together on the one bed in their apartment. But Hannah didn’t really have time to enjoy a good book back then. As a teenager, she had to attend evening classes so she could help support the family financially. At meetings of her youth movement, HaNoar HaOved VeHaLomed (“The Working and Studying Youth”), she heard about Ben-Gurion’s call to settle the southern Negev region and about a new kibbutz named Be’eri that was about to be built there.

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Hannah with her bicycle, from her book, page 39

“Over my dead body” was her father’s response when Hannah told him she wanted to settle the wilderness, and what’s more, with such a disreputable institution as a kibbutz. “If you go, you won’t have anywhere to return to,” her parents desperately threatened, afraid of losing their eldest child. The year was 1950, and they didn’t really understand what a kibbutz was. The rumors they had heard (“They share everything there; even the children!”) only made matters worse.

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The Gottesdiener family, from her book, page 33.

But Hannah didn’t give up. With youthful determination, she ran away from home, caught a bus to Kibbutz Sa’ad, which was a few kilometers north of Be’eri, and walked the rest of the way on foot, with two boys who were the same age as her, carrying rifles they had received because there were known to be “fedayeen” militants roaming the area. The warm welcome she received from the founders of Be’eri, who were sitting and singing around the bonfire, was the moment Hannaleh fell in love with the kibbutz—a love that never faded.

All contact between Hannaleh and her family in Tel Aviv was severed for months, but it felt like an eternity. Longing for her parents and siblings tore at the heart of the young pioneer. Eventually, her mother went to consult with the neighborhood rabbi, who said, “If she went to a kibbutz in the Negev, she has done a great mitzvah, for we are commanded to settle the land.” The rabbi’s response softened the father’s heart. He relented and they reconciled. Before he passed away at a ripe old age, almost like an apology to his daughter, the father asked to be buried in the kibbutz, a request that was honored.

Initially, Hannaleh worked in the vegetable garden, but she did not excel as a farmer. As one of the kibbutz members told her: “Whether you work or not — it makes no difference.” She was deeply offended, but her anger only fueled her determination to prove herself. She decided to specialize as a dairy farmer and spent time working in the dairy, enduring the long milking hours at strange times of day and night, as an equal among equals. Together with all the young members of the kibbutz, Hannaleh joined the IDF’s Nahal program, which combined military service with community building and agriculture. Once she married, she finally found her calling. The young girl who had attended evening classes became a preschool teacher, helping to raise and nurture generations of kibbutz children.

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Tziki and Hannaleh on their wedding day, with Hannaleh’s parents, Hadassah and Simcha, from her book, page 68.

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Generations of children in Be’eri were raised by Hannaleh Kritzman. Although she never formally studied education, her well-developed and nurturing educational approach came naturally to her. She was drawn to this work, never leaving it until her retirement.

“What was unique about her education was that she never gave up on any child,” says her son. “At that time, they didn’t know about attention disorders, but she understood it intuitively: when a child couldn’t sit still and wanted to go out and chase birds, she’d go out with him to search for them.” Hannaleh understood the children. She knew how to engage, connect, and show that together they could achieve more. She always walked alongside the children she taught, with them, not against them—never through yelling, never through force. “Even with the grandchildren, for example, if they needed to go take a shower in the evening, she’d never fight, force, or bribe them. She knew how to create a situation where the child himself wanted to get in the shower, through play or speaking with them at eye level, and there was always her tempting promise: ‘If you shower quickly, we’ll have time to read a story.’”

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Hannaleh reading a book to the children of the kibbutz, from a private album

When Yotam Keren, one of her grandchildren, decided to specialize in pediatric medicine, she offered her assistance: Before his residency began, she’d go with him and his fellow future doctors and teach them how to approach children in a way that wouldn’t scare them. It was clear to her that she had something to teach them.

“These are experiences that children never forget”

Books were an educational tool that Hannaleh used in a particularly clever way. “When a child would disrupt the class while she was about to read a book, she would say to him, ‘Come, you have a special job to do. Hold the book for me and turn the pages when it’s time.’ She captivated everyone, even the other teachers!” said her son, Tzafrir.

Hannaleh’s deep love for books accompanied her throughout her time as a preschool teacher, but she sought other ways to bring children closer to the world of reading.


When she had the idea of establishing a children’s library in Be’eri, she envisioned it as a place where families could come together and have bonding experiences. The library was located in an old building that had previously housed the elementary school’s science lab, and Hannaleh organized it into a warm and inviting atmosphere, with colorful rugs and cushions. She would open it in the afternoons and hold storytelling sessions for the children. “She didn’t just read aloud: She used sound and motion and involved the listeners by asking questions,” her son recounts.

She planned events and meetings with authors at the local library, and the library became a vibrant cultural center. Later, after serving as an exceptionally successful cultural coordinator in the kibbutz, she was appointed the cultural director of the entire Kibbutz Movement, where she mentored cultural coordinators in many other kibbutzim.

Even after she retired from teaching, Hannaleh continued visiting the preschools in Be’eri, where her presence was welcomed by both the children and the adults. Even at the age of 80, she volunteered two or three times a week to read stories to the children, who would immediately gather around her in a circle. “She never just ‘read a story’.” her son says. “When she read Yael’s House [a classic Israeli children’s book about a young girl who chooses a wooden box as her new home], she brought a large cardboard box and let all the children take turns sitting inside it. When she read A Tale of Five Balloons, she took them outside to blow up balloons together. These are experiences children never forget.”

It wasn’t just children who fell under her spell. While retired, she traveled twice a week to the nearby town of Sderot, to a club run by the Enosh Association, where she volunteered to read stories to people with disabilities, who eagerly awaited her visits every time. “She always said she felt she received more from them than she gave them, and she never gave it up, even when she was ill,” her son Tzafrir shared.

An Unfathomable Disaster

On October 7, Hannaleh was at home with her husband Tziki, and their Filipina caregiver, Abigail Rivero. When the first sirens went off, she and the caregiver immediately entered the safe room, while Tziki, refusing to panic, insisted on staying in his armchair in the living room to watch TV.

That morning, Tzafrir watched in horror as his father sat in the living room, with the sounds of fierce battles raging throughout the kibbutz in the background. He watched the events unfold live, through cameras that the children had installed in their elderly parents’ home, mainly out of concern about potential falls or health emergencies. At some point, the cameras stopped working. Tzafrir was powerless: “I felt terror combined with an immense sense of relief – whatever happened to my parents, for better or for worse, I wouldn’t see it live.” All three survived the long hours of that awful day. The terrorists massacred people in the neighboring homes but, for whatever reason, happened to leave their home alone.

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Hannaleh and Tziki, from a private album

Just before morning on Sunday, a group of reservists came to rescue them and help them evacuate. The elderly couple drove in a golf cart toward the exit from the kibbutz, with soldiers walking alongside to guard them, when a terrorist who had remained in the kibbutz fired at them from a rooftop a few meters away. Hannaleh was shot in the stomach.

Kritzman was shot while she was being rescued from her home in Kibbutz Be’eri and was taken to Meir Hospital, where she lay unconscious for two weeks, sedated and on a ventilator. Her tenth great-grandchild was born a few days later, in the same hospital. Hannaleh never got to meet the baby, and she died from her wounds on October 21, 2023.

After about 20 minutes of fighting, the rescue unit managed to get the couple to a gathering point at the entrance to the kibbutz, where Hannaleh was boarded onto a helicopter that took her to the hospital. Her injury was severe, and would have been so even for a young person. Since it wasn’t possible to bury anyone in Be’eri due to the ongoing fighting in the area, the victims of Be’eri were buried in temporary graves around the country. Hannaleh was initially buried in Kibbutz Einat, and then in the summer of 2024, she was taken to her final resting place in her beloved kibbutz. The Be’eri families had to bury their loved ones a second time, a permanent, final burial, which was no simple matter and took a significant emotional toll—eulogies were written and read once more. Perhaps the only comfort was in the traditional social gathering at the kibbutz members’ club after each funeral. Hannaleh was buried next to her parents, and with her favorite book, Children’s Island by the Jewish author Mira Lobe, at her request.

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Hannaleh’s grave at Kibbutz Be’eri, alongside the graves of her parents, Simcha and Hadassah Gottesdiener. Photo by Tzafrir Keren

“Our disaster pales in comparison,” says Tzafrir. “The disaster that took place at Kibbutz Be’eri as a whole is unfathomable—children, entire families were murdered. I lost so much more than just my mother. Adi Dagan, my best friend since preschool, who I spent all my childhood with, was murdered. I had just been texting with him that morning and promised him that the army was on the way. He replied, ‘There’s no one here’.”

Channaleh’s grandson Omer Keren wrote in her memory: “Grandma Hannah was the most optimistic person in the world. When her angelic Filipina caregiver, who bravely protected her for 20 hours in the small safe room, came to say goodbye at the hospital, she burst into tears: ‘Who will tell me to wake up tomorrow morning with a new song in my heart?’ That’s my grandmother. A woman of words, for whom words are too small. This is not the ending she deserves. She never told anyone a story with a sad ending, and her story can’t be like that either.

Grandma used to say that the only remedy is to smile, to keep creating, to love, to build something new. Just like the huge, united family she created is her truest revenge against the Nazis who destroyed her parents’ families. To return to Be’eri and rebuild it just like the paradise she built herself.”

The library building in Be’eri was severely damaged during the murderous attack in October 2023. While writing this article, I received moving news from Aliza Gad, the Kibbutz Be’eri member who replaced Hannaleh as the library director: The library building will not be demolished but will be renovated and reopened in the future.

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At the beginning of her book, Hannaleh wrote a general dedication to her readers:

“A person leaves home with a suitcase. Inside, they place love, caring, sensitivity to others, compassion, and curiosity, and then each time, they can open it to learn how to give from it to others. But when the suitcase from home is empty, they cannot develop or give to their surroundings. Therefore, as parents, we must equip our children with a suitcase full of good things.”

“After a person has gone, what remains of them? Not their possessions, not their money, but their story, whether they wrote it or told it. And now I present my story to you.”

Read more at: Lives Lost: The Works of the October 7 Fallen – A Special Project

Larger Than Life: Remembering Eden Ben Rubi

Ben Rubi had a natural artistic spark that enabled the Rishon Lezion resident to express her unique personality in her works. She dreamed of leaving her mark on the world. On October 7, 2023, she was among those murdered at the Nova music festival.

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Eden Ben Rubi, may her memory be a blessing

The colorful elephant looks ahead from a painting hanging from a first-floor wall in Rishon Lezion’s city hall. The pachyderm’s blue, green, orange, yellow and red body, depicted in wide brush strokes, may not fit on an African savannah, but it seemed plenty natural to Eden Ben Rubi, the local artist who painted it.

Eden Ben Rubis Elephant Painting
Eden Ben Rubi’s elephant painting

The image so appealed to Meirav Ben Rubi that she wore it on a t-shirt while being interviewed for a short film about the life of her daughter, 23, who along with her boyfriend Ariel Bitton was murdered by Hamas terrorists after fleeing the Nova music festival and taking refuge in a bomb shelter on October 7, 2023.

Eden painted the elephant during a two-week art workshop in India during a visit the last summer of her life. Because the canvas hadn’t dried when Eden left India, the workshop’s director mailed it later. It reached Eden a week before her murder.

Edens Sketch Of The Taj Mahal Which She Visited In Summer 2023
Eden’s sketch of the Taj Mahal, which she visited in summer 2023

When the city hall exhibition — displaying works of six natives killed at Nova and in the war since — closes, the painting will return to the Ben Rubis’ home — the only artwork by Eden displayed there. It’s not that Eden particularly loved elephants, Meirav said. Rather, her daughter had been struck by this post in English:

ADVICE FROM AN ELEPHANT

  • Make a big first impression.
  • Don’t work for peanuts.
  • Be all ears.
  • Know when to put your foot down.
  • Be gentle, no matter your size.
  • Have big ideas.
  • Charge ahead.

“This was Eden: that it doesn’t matter your size — bring big ideas,” she said. “Leave an impression that you won’t be forgotten.”

Some Of Eden Ben Rubis Works At Rlz City Hall Pic By Keren Weisshaus
Some of Eden Ben Rubi’s works at Rishon Lezion city hall (photo by Keren Weisshaus)

The blonde-braided Eden loved to create. “A gallery in New York” read one item on a handwritten checklist of her life’s goals in a notebook found under Eden’s pillow. Eden didn’t live to open a gallery, but Meirav achieved the next-best thing by arranging for Eden’s work to be displayed, along with pieces by other Nova victims, in Manhattan’s Chelsea neighborhood in April.

“What spoke to me about Eden’s art was the realness. You can feel her emotions and her connection to different people, places and things that meant a lot to her,” said Julia Levine, who organized the New York event and displays in her apartment a copy of another of Eden’s elephant paintings, this one Indian-themed.

Meirav Above Her Daughters Picture At Exhibition Dedication Event In Rishon Photo Credit Meirav B.r
Meirav, above her daughter’s picture, at an exhibition-dedication event in Rishon Lezion (photo courtesy of Meirav Ben Rubi)

Eden painted, sketched and drew. She made tattoos for friends. She seemingly was everyone’s friend, someone who lifted spirits and freely complimented others, who loved to dance and sing and smile — that’s the consensus of the film, After Eden.

The film was made by young Jews in Greece, the ancestral homeland of Eden’s father Uzi’s family. She traveled to Greece most summers to attend a Jewish camp, where she later worked as a counselor. When Meirav and Uzi visited the Acropolis last Passover, a cashier recognized her as Eden’s mother.

“I’m not like everyone else. That’s clear. As a result, I’ll succeed,” Eden said in a clip included in the film.

Eden At Work Photo By Meirav Ben Rubi
Eden at work (photo by Meirav Ben Rubi)

Keren Weisshaus, the curator of the Rishon Lezion exhibition, said she’s struck by the movement of Eden’s brush strokes, her utilizing lots of color and the cheerfulness conveyed. Approximately a dozen of her works appear in the exhibition, all of them sketches and drawings but for the elephant painting.

The display “testifies to her personality, that she saw brightness in everything,” said Weisshaus. “We see she’s bubbly, like sparkling water. Just like everyone has a unique handwriting style, so with an artist we can learn about the person’s personality and style. [We] can see that she’s energetic, upbeat and optimistic. You can see by the subjects she chooses that she sees the beauty in the world and in people.”

Eden Ben Rubi
Eden Ben Rubi

That is apparent, too, in Eden’s paintings that Weisshaus didn’t include in the exhibition — “very colorful, saturated with color, [like] of sunsets,” she said. “You see her passion for life.”

Most astounding about the works and the exhibitions is this: Eden never studied art.

“Everything came from her head, her imagination,” Meirav said.

People continue paying tribute to her. A yoga event is being organized in her memory in Miami, and a wine-tasting night in Israel. Acclaimed chef Moshe Segev added an Eden’s Sunsets Cocktail to the menus of his restaurants in Petah Tikva and Hod Hasharon.

“Whoever does something recalling [Eden] really strengthens and excites us. The pain is there, but it helps. It says, ‘Look, they’re not forgetting her,’ ” Meirav said.

“Every time I memorialize her, I feel her close to my heart.”

Writer-editor Hillel Kuttler can be reached at [email protected].

Read more at: Lives Lost: The Works of the October 7 Fallen – A Special Project

Upon a Pink Cloud: Remembering Inbar Haiman

Graffiti art was Inbar’s thing, but her creativity was boundless. She was among those murdered at the Nova music festival on October 7, 2023.

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Inbar Haiman, may her memory be a blessing

The keychain Inbar Haiman made as a gift for her college roommate, Naomi Goldstein, contained standard elements, like a part-metal/part-thread chain. At the chain’s end lay a lime-green plastic knob that Haiman likely had pressed hundreds of times to make art. It was a nozzle from a spray-paint canister, the preferred tool of her trade. Haiman used spray paint to decorate items she found, like parts of discarded toys, then recycled them into art she sold as picture frames or earrings or keychains.

Keychain Inbar Made For Her Roommate Naomi Goldstein Photo By Naomi Goldstein
A keychain Inbar made for her roommate Naomi Goldstein (photo by Naomi Goldstein)

Haiman utilized spray-paint cans more conventionally, too, if such an adverb could apply to graffiti art. The genre appealed to Haiman because, as she told relatives and friends, it was accessible to everyone outdoors in the public domain, not only those paying to enter a museum.

Haiman also was “excited about the risk” of creating graffiti on public property, Goldstein said. “She liked that with graffiti, you could be appreciated and anonymous at the same time.”

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Inbar Haiman, doing what she loved. Photo courtesy of the Haiman family

Haiman dubbed herself “Pink Question,” for her favorite color and her curiosity — a moniker she shortened to “Pink.” That’s how she remains known. Haiman, 27, was one of at least 364 people whom Hamas murdered in its October 7, 2023, rampage at the Nova music festival at Kibbutz Reim, part of the Gaza Strip-based terrorist group’s day-long massacre of 1,200 people in Israel’s northwest Negev. The terrorists kidnapped her body and still hold it captive.

Friends Sign Near Petach Tikva Photo By Naomi Goldstein
A sign made by Haiman’s friends near Petah Tikva (photo by Naomi Goldstein)

Haiman’s loved ones continue lobbying in Israel and overseas for her repatriation. Their efforts include spreading the message in a manner she’d likely have appreciated. It’s there — Free Pink, the graffiti reads in English — on boulders alongside Israel Railways tracks in the country’s north. On a highway wall, in English and Hebrew lettering, on Rte. 471 not far from Haiman’s parents’ home in Petah Tikva. Between shop entrances on Haifa’s busy HaAtzmaut Street, is a message apparently painted by her classmates at the WIZO Haifa Academy of Design and Education: RIP Pink: Rest in Paint. And plenty more places.

Art, in part, is what sent Haiman to the fateful festival. She brought at least three of her paintings to try to sell there. Goldstein and Haiman’s mother, Ifat, don’t know whether she succeeded or even if the works survived the massacre. Haiman also was drawn to Nova by the music and the dancing — and the chance to lend a hand. She was hired to work there as a “helper”: someone assisting those who weren’t feeling well, including those attendees who’d drunk, smoked or inhaled too much.

“She loved people without judgment. She touched so many people. She helped people,” said Ifat. Haiman once calmed a suicidal peer. While studying at WIZO, she volunteered at a Haifa high school, leading workshops in graffiti art and creative writing. While in the army, Haiman organized an open-microphone poetry night in Jerusalem for teenagers; it’s where she and Goldstein met.

“Inbar lived art every day,” Goldstein said.

WIZO lecturer Yael Barnea Givoni was impressed by Haiman’s final project in her second year. The assignment called for telling a five-part story in three dimensions. Haiman fashioned a five-member family out of spray-paint cans, buttons and other materials, using bright colors for their bodies and creative cuts of the metal for teeth to fashion distinct characteristics in a clan of what Barnea Givoni called “nice monsters.”

Inbar Hymans Class Project With Teacher Yael Barnea Givoni
Inbar Haiman’s class project with teacher Yael Barnea Givoni

The project elicited Haiman’s “imagination and wildness,” she said. “She wasn’t tame. She was daring.”

Ifat remembers that her daughter began doing graffiti art with friends at about age 15. A few years later, she painted a pink question mark on a wall near home. Even in Haifa, she’d do graffiti late at night — alone or bringing someone along as a lookout. “It was a form of rebellion, of course,” Ifat said.

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Inbar Haiman painting graffiti. Photo courtesy of the Haiman family

Haiman was preparing for a career in artistic branding, such as for a hi-tech company, Ifat said. Haiman and her boyfriend and WIZO classmate, Noam Allon, spoke of opening an art studio. The couple discussed marriage. Following Haiman’s murder, Allon dropped out of college and is travelling abroad.

Ifat misses her deep conversations with Haiman. They’d go for coffee, put down their phones and would “sit and talk and open our hearts,” Ifat said. “She wasn’t only my daughter. She was my friend. She told me her secrets. I’d sometimes reveal, too. That wasn’t to be taken for granted. We’d discuss everything.”

But Ifat didn’t know much about her daughter’s art until after Haiman’s death, when WIZO classmates brought her paintings and creations from Haifa. Some of it has since been displayed throughout Israel and even at the United Nations. Several students at WIZO — and at Ariel University and the Bezalel Academy of Art and Design — dedicated their graduate projects in Haiman’s memory.

“It brings attention to her, and brings back her light,” said Ifat. “It strengthens me.”

Writer-editor Hillel Kuttler can be reached at [email protected].

Read more at: Lives Lost: The Works of the October 7 Fallen – A Special Project

More Than a Thousand Words: Hannah Senesh’s Photographs

Hannah Senesh had a poetic view of the world, as reflected in her own words – her poems, diaries and other writings. But the young paratrooper also left behind another, less well-known viewpoint, as documented through the lens of her camera.

Hannah Senesh at age sixteen, and her camera which is today preserved in the Senesh Family Archive at the National Library of Israel and made accessible courtesy of Ori and Mirit Eisen.

“Aniko, the serious writer, writing her famous novel.” The inscription behind the black and white photograph is handwritten, easily recognizable from countless other texts written by this young woman – poems, personal notes, diaries and more.

The young woman in the picture, who also wrote the inscription, is “Aniko” herself, better known by her Hebrew name: Hannah Senesh (Szenes). It’s Christmas, 1936. Senesh is pictured in her family home in Budapest. She is sitting at a desk, looking directly at the camera, before her is a notebook and she holds a pen in her hand. Beside her is a picture of her father, the acclaimed writer and playwright, Béla Senesh, whom she lost when she was only six years old.

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Hannah Senesh sitting at her desk. From the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen

Béla Senesh, like his daughter, wrote quite a lot of material during his short lifespan, including stories for children, first read to little Hannah and her brother Giora (George). When Hannah was only five years old, she began to follow in her father’s footsteps and started to write.

At a later age she wrote about him:

“There are stars whose light reaches the earth only after they themselves have disintegrated and are no more.

And there are people whose scintillating memory lights the world after they have passed from it.  

These lights which shine in the darkest night – are those which illumine for us the path.”

(Translator unknown)

But along with the notebooks, diaries, writing instruments and the typewriter, the “tools of the trade” that we typically associate with a poet, Hannah also had a camera. This creative young woman, the Zionist who dreamed of making an impact and being remembered, left her stamp in more than one way.

In 2022, courtesy of Ori and Mirit Eisen, Hannah Senesh’s archive was deposited in the National Library of Israel as part of the Senesh Family Archive. In addition to manuscripts there are also family photos and many photographs that Senesh took herself – in Hungary on family vacations, and after her aliyah to the Land of Israel. Sometimes she wrote on the back of the photograph, other times the photographs were attached to a letter sent to her mother or brother Giora. The archive also contains Hannah’s camera, an Agfa Box-Spezial Camera in a small leather box lined with blue fabric, her name on it in her own handwriting.

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Hannah Senesh’s camera, today preserved in the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen

Some of the photos are arranged in albums organized and kept by Senesh, some with typewritten captions. “Now I will go to sort out my photographs and reproductions. This activity gives me great pleasure,” she wrote in her diary, (excerpt from Diaries, Poems, Testimonies by Hannah Senesh). Senesh had a collection of postcards and artwork reproductions which are also part of the archive.

The albums are evidence of an imaginative young woman who viewed the world as a poet, with a strong desire to preserve, remember and remind.

“I am writing now from San Pellegrino, sitting on grass, with mountains in front of me and behind me. A stream winds through the valley, a wonderful mix of emotions and images. I’ve taken in so many impressions… I am trying to write everything down, to save the memories of these two days as a keepsake.”

(Excerpt from “Diaries, Poems, Testimonies“)

In the summer of 1937, 16-year-old Senesh travels by train to Italy equipped with a camera. The purpose of the trip is to meet her relatives in Menaggio near Lake Como. On the way she also visits Milan, Venice, and San Pellegrino. “I am full of curiosity and have a camera in my hand,” she writes in her diary.

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Hannah Senesh on vacation in Italy. From the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen

After a visit to the Duomo in Milan, she writes in her diary about the experience, and her photographs of the cathedral fill some two pages in her photo album:

“I’d heard a lot about it, and I even saw a picture…as if I saw it in my mind’s eye. Nevertheless, as I now stood at the edge of its vast square, in front of the towering building in all its glory, I looked in awe, breathless, at the whole church as a work of imagination. I started walking towards it, and entered through the bronze gate with its inlaid reliefs. At the first moment, I noticed in the gloom only the outlines of the giant columns… Slowly my eyes were drawn to the Gothic vaults and the capitals of the columns crowned with statues. The vast dimensions contain human destinies, whose hopes, torments and dreams were cast in these columns.”

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Pictures of Milan from Hannah Senesh’s photograph album, 1937. From the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen

In 1938, she writes about winning a prize in a school photography competition: “3 films. That’s second prize.” (Excerpt from Diaries, Poems, Testimonies). In March of that year, Senesh is disturbed by the situation prevailing in Europe. She writes in her diary for the first time about political events and describes the occupation of Austria by Hitler. During this year, Senesh declares in her diary that she is a Zionist.

A year later, in March 1939, she is no longer interested in anything but Zionism. “I would not be exaggerating if I write that the only thing by which I live and which occupies me completely is Zionism… I now take upon myself the right to see only ourselves, Judaism, the Land of Israel and its future. The situation is very serious.”

It is Senesh’s last year at school and final exams are approaching. She writes “I hardly pay attention to them and I don’t prepare”. During this period, she writes a letter in Hebrew to Hannah Maisel-Shohat, the director of the agricultural school for young women in Nahalal. She longs to immigrate to Israel and help build the Jewish settlement, “May they accept me!” she writes in her diary.

And she was indeed accepted. Immediately after her 18th birthday, Senesh received the long-awaited certificate. She said goodbye to her mother and set off alone, two days by train and five more days by ship: “I finally arrived home to Eretz Yisrael”.

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Hannah Senesh on the day of her arrival at Haifa port. From the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen.

She first came to Haifa and then to the Jezreel Valley, to Nahalal, where she worked in the laundry, dairy, kitchen, and produce warehouse sorting grapefruit. She studied Hebrew and agriculture, developed friendships, and even went on trips — along with her camera.

In Senesh’s many correspondences with her mother Katarina, who remained in Hungary, she asked her to send some basic supplies: “Regarding my other requests, I am really very well equipped, and I don’t know what other things I need. Soon, I will run out of soap, toothpaste, film. Could you send me that? (Excerpt from Only You Will Understand by Hannah Senesh)

At Nahalal, Hannah and her camera were inseparable. “Today I had an impressive success with photography. A few girls who were excited about the Nahalal photos bought film and asked me to photograph them. All eight photos turned out very well. Now everyone wants me to photograph them, as if they’ve appointed me the court photographer.” (Excerpt from Only You Will Understand)

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Hannah Senesh on a trip with her friends from Nahalal. From the Senesh Family Archive at the National Library of Israel, courtesy of Ori and Mirit Eisen.

Senesh continues her journey in the Land of Israel. She is seeking a kibbutz that suits her mindset, and finally arrives at Sdot-Yam, where she stays until enlisting in the British Army and departing on the mission from which she will not return. She no longer photographs. She reflects on the past, writing, “I’m afraid to look into the depths of the abyss” (Excerpt from Diaries, Poems, Testimonies).

“Only one image draws me back into the past – mother at the train station. Four years. I never believed that the chasm separating us would be so wide.”

The Senesh Family Archive is today deposited at the National Library of Israel and has been made accessible courtesy of Ori and Mirit Eisen.