It looked like a warehouse. I’d come 3,700 miles on planes, trains and yes, automobiles, to get here, to Antwerp, for a preview of the new Red Star Line Museum and it looked like a warehouse. Warehouses, actually. Three red brick buildings, square and unassuming, sitting on a corner across from a rather rusty-looking, industrial port area.
No windows, no marble steps leading to a grand entrance, no statues or friezes foreshadowing some precious archive or priceless collection within. The building sported not a thing to make it look imposing or museum-like.
Just Red Star Line, in big white letters of an old-fashioned, poster-like font. There was a new glass tower, ship-like in shape, among the three old buildings, but that was for the view.
Going through the glass, street-level doors, the immediate impression did not disabuse me of the first impression. A gift shop in one corner, a (really interesting) photo exhibit dwarfed by the towering walls on which they were hung. Even the crowd here for the press conference seemed small, impermanent, beside the point.
The main thing, the important thing, the ubiquitous thing, was quite simply the walls. And, naturally, the space they contained.
They are, really, the foundation of the new museum’s collection. The walls, the space, the building, the site by the port, these are the powerful artifacts from the Red Star Line’s past. All here and as they were when the shipping line was established by a group of Philadelphia businessmen in 1873. People came from all across Europe – a majority from Eastern Europe –to the Red Star Line complex. They traveled by train, by foot, by subterfuge, by night, without papers or passports or visas. Some were detained for months by red tape, by brutal weather, by illness.
The first and second class passengers boarded their ship with only minimal scrutiny. It was the steerage class, the ones who arrived with few possessions and sand would be sailing under the worst conditions — after spending all their savings on a ticket ($500 to $1,000 in today’s economy) — who came through these buildings. And sometimes. this was as far as the would-be emigrants got; some were turned away while they were being processed for boarding, when they were deemed sick or otherwise undesirable.
For the rest though, the more than 2 million given the green light, a new journey had begun. Antwerp was the last they would see of their Old World life; when their feet next touched terra firma (for many, at Ellis Island) they would be taking their first steps into a better life in a New World, a world they believed offered freedom for all, and the opportunity to make their dreams come true.
Between 1873 and 1934, this building was the grand central station for more than 2 million people in transition. It was a place of hope, of sadness, of despair and fear and anticipation and confusion.A place of comings and goings, endings and beginnings. Truly, the “if walls could talk” wish was made for a place like this.
Around 2004, some Antwerp city officials, who saw the potential in these old buildings, started the process that, in essence, actually made those walls talk. The Red Star Line Museum is as its first impression suggests: a warehouse. What is stored within is human history, the human condition, in a million different stories.
Through official records, through amazing photographs, through letters and diaries and recent interviews with relatives and some of those Red Star passengers still alive, the stories have be rescued from obscurity. The ghosts have been given substance, the faded names turned into people who lived and breathed and dreamed.
As I write this I’m getting goose bumps, again, as I remember the stories I learned, the grainy black and white faces I peered into, with their huge and hopeful and intelligent and terrified eyes. Stories and people front a not-that-long-ago past, really. Yet all of it nearly lost.
The Red Star Line, Ellis Island, the millions and millions of people uprooted during that time in Europe, changed the course of history. Gave America a foundation for the life we know today. The museum makes a point of tying in the phenomenon of human migration with examples the first homo sapiens 70,000 years ago to the current waves of refugees from Afghanistan, Congo, Iran and other war-torn countries.
Every migration has its own particular political and cultural components. But at its core, they all have one common thread: the hope for a better life. The example of the Red Star Line’s migrating passengers tells a universal story: a story of human beings willing to endure hardships and overcome unimaginable obstacles, to find a better life for themselves, their family, their future. Somehow, from the depths of despair created by fear and hate and prejudice, the human spirit manages to rise, and rise again.