From The Escape Artist: The Man Who Broke Out of Auschwitz to Warn the World, by Jonathan Freedland (HarperCollins, 2022), Kindle pp. 71-72:
The next morning brought a 5 a.m. start for Appell at 6 a.m. As he had already learned at Majdanek, roll call was to count both the living and the dead, the latter category understood also to include the dying. If the figures all tallied, and no one was missing or presumed escaped, then the roll call would be declared over and the corpses could be taken away – each body carried by a single prisoner on his back, with the lifeless head lolling over one of his shoulders. As the pairs staggered off, they looked to Walter like double-headed monsters, prisoner and corpse joined together shuffling slowly towards the mortuary: it was hard to tell which one was dead and which alive, because they were both skin and bone.
It was strange for him and the other new arrivals, lined up in their civilian clothes, watching the inmates march off to hard labour while they were to stay behind. They were left to amble around the camp, around its open areas at any rate, trying to make sense of it. It was only on the following day that they were plunged into the ritual of induction, a re-run of the process Walter had undergone two weeks earlier in Majdanek.
It began with a forced trip to the showers. The Kapos beat them in there with clubs, herding 400 into a room built to contain thirty at most, then beat them back out again, kicking and clubbing them until they were standing naked in the cold. After that, still naked and shivering, came something new. They lined up to be tattooed with their Auschwitz number. Two fellow prisoners acted as clerks, taking down the inmates’ names and places of birth: Walter was entered into the ledger as having been born in Pressburg, the old Austro-Hungarian name for Bratislava. He gave his occupation as ‘locksmith’, adopting the trade of the man who was not quite his stepfather but regularly at his mother’s side. That done, it was time to be marked. Previously, the tattooing process had meant being leaned against a wall by a prisoner who then pressed a special stipple, resembling a stamp with metal numbers, into the left side of the chest, just under the collarbone. Often it was done with such brutality that many deportees fainted. But on this day, Walter was offered a choice. He could be branded on the left or right arm, on the outside or the underside. Walter nominated the top of his left forearm, where the mark would be immediately visible, and so it was done. For the next two and a half years, he would not use his name officially again. From that day on, he was 44070. Before long he would learn the importance of numbers in Auschwitz, how a low, ‘old number’ marked you out as a veteran, putting you closer to the top of the camp hierarchy whose strictures and privileges inmates strictly observed.
Eventually, they were given clothes. Their old ones were taken away, never to be returned and they were handed the familiar uniform made of coarse cloth, patterned with dull grey-blue and white stripes. So Walter would be a human zebra like all the others. Yet as he pulled on the tunic-cum-shirt – his number sewn on to it alongside the standard symbol for Jewish inmates, a star formed from two triangles, one the red of a political prisoner, the other yellow – as well as the trousers, baggy cap and wooden clogs, he took comfort, and not only from the fact that he was no longer exposed to the elements. He also liked that he was now indistinguishable, at a glance at least, from the rest of the pack, that he could, if he worked at it, melt unnoticed into the crowd. To disappear was, in its own way, a kind of escape.
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