The Stars and the Cookie Jar

I have morello cherry conserve left over from yesterday, gluttonous me; the matzah is holding up rather well considering it's really just a convenient shingle for an inch of ruby-colored jam.

Finished the bit with the fate of Kruk's wife; not much else, last night, as I was off gettin' my Heeb on. Tonight after work, I think I'll do the Mir'ele stuff in earnest; I've been avoiding it mostly because I don't wish to write Greedy Catholic Priest In A Holocaust Story #3,891.

Oooh, that gives me an idea for an  LJ-cut.

I'm avoiding....
...writing Raissa and Fayge sharing a room, because I don't want the scenes to degenerate to Raissa's sexual tension issues.
...writing Fayge's death, because the minute she's murdered, there's no POV character to tell you about it.
...writing Mir'ele, because it's going to be a long road of dialogue and probably I'll have to edit out a wodge of authorial ignernce.
...writing anything about the theatre itself, because quotes from songs and plays, while interesting, tend to stall up the story.
...writing about Fayge's GeStaPo -- contacts. 'S bound to offend, no matter where I angle it.
...writing detailed physical description of Vilna, because the Vilna I saw is not theirs. I have no clue about the Great Synagogue; it's a kiddie park now! (the two Vishniac books, and the Sonenson collection, help a lot; but they're photographs, they're flat, staged.) Arches, mildewy, crumbling, overgrown  and forgotten, with graffiti and broken glass in the empty spaces; that was the Vilna I saw. A city once, maybe, but dying on its knees with its face in the river.
...writing detailed physical description of the characters, because characters look different in everyone's imagination. No, that is not a lame cop-out. Did anyone ever stop in their narrative and tell you what Jane Eyre, or Jim Hawkins, or Offred really looked like? (my iconic-lit choices seem to have eschewed the American. Whoopsie. Let's throw in Sister Carrie, then.) ...The only really important bit is that Fayge has blonde hair and blue eyes, and therefore moves unencumbered through a world half her co-protagonists are forcibly denied.
...writing Hirsh's final scenes, though I have them in my head, because I haven't yet found words to do them right. I know he goes to Kluga, I know he meets Kruk there, I know where the story is marching. But the words don't seem to have shown up. Just an image of a pale-eyed pale-haired Kruk asking "What happened to them?"
Well, I have nine days to horsewhip myself into the work.