"Schätzje'
! What are you doing?"
That little girl, normally sharp as a tack, is on the top of a stack of Encyclopedias on one of the kitchen chairs, which she has dragged in front of the large bookshelf. My old, green, felt Tiroler hat is lying on the floor behind her and she is standing on tippy toes reaching for a volume on the very top shelf.
I rush over and she turns to give me the look, the one that children give adults at a time like this.
"Schätzje'
! You know you can ask me for help anytime. Which book do you want?"
She points up to a dark blue book. On the spine in gold is
Horns Spinnstube 9. I help her down from the precarious perch and then reach up to ease out the book. She is standing with both hands held out, and when I give her the book, she runs her fingers over the embossed cover. "Wow! It's really old, isn't it?"
"Sure is. From 1864."
She very carefully opens it and as soon as she sees the old
Fraktur, her forehead crinkles. "Can you read this?"
"Come on, let's go sit on the sofa and we'll read it together."
The ancient-looking script excites her and I'm happy to see how quickly she is picking it up. In a few hours, she's reading to me the word puzzles written so long ago by Wilhelm Horn. Then, the inevitable question: "Why don't they use this kind of writing any more?"
So I tell her about 1940's Germany, about the NSDAP, and about horrible men who described (incorrectly) this "gothic" typescript as "Jew-letters from Schwabach" and so ordered that only Latin Antiqua be utilized from 1941 on. When they became masters of the world, they thought, this would enable everyone to read their writings. "Do you remember that stamp I showed you, the red one with the M on it?" I ask her.
She nods her head. "That M is like the M in this book!"
I smile. "Yep. The Allies used
Fraktur on the first postage stamp they printed after the War ended."
That little girl is now happily able to read books set in
Fraktur.