Between 1938 and 1945 the little Bavarian town of Flossenbürg was the home for a Nazi concentration camp that held political prisoners, German criminals, and, near war’s end, Hungarian and Polish Jews. About 30,000 prisoners died in Flossenbürg and its neighboring subcamps by the time the camp was liberated in April, 1945.
Perhaps one of the most unexpected dimensions of Flossenbürg today is that it is a beautiful little Bavarian town that departs from our imagination of a landscape of genocide. Nestled in the Bavarian forest near the contemporary Czech border, Flossenbürg was a small medieval village that was home to granite quarry laborers by the late 19th century. Atop the village’s highest point sits the picturesque ruins of Flossenbürg Castle, which was built in about 1100 and eventually was burned in 1634 during the Thirty Years War.
Many dark tourism sites associated with death, tragedy, and disaster are likewise aesthetically appealing contemporary spaces. Sites like Flossenbürg acknowledge our anxieties about death, violence, and injustice, and interpretation at such sites usually paints a sober if unsettling picture of historical experiences. Nevertheless, many of these preserved places inevitably have been purged of most of the material trappings that made them horrific places, and some of them like Flossenbürg are once more visually appealing spaces despite their heritage.
The American landscape is dotted with places that witnessed enormous tragedies, and much like Flossenbürg they have now been absorbed into the everyday landscape. Unlike Flossenbürg, though, many of these American sites clumsily negotiate their dark heritage or simply ignore it in favor of aesthetically pleasant contemporary landscapes. Some of the most interesting examples are Southern plantations, where surviving buildings, landscapes, and archaeological materiality are the products and expression of captive labor. Yet few if any plantations conceive of themselves as sharing the mission of dark tourist sites whose stories revolve around trauma and tragedy. Some plantations have embraced a critical analysis of the relationship between captives and White slaveholders, but many have not really pushed beyond painting the plantation as a relic of the antebellum South. Read the rest of this entry