“And yet, apart from a handful of depictions of the Third Reich, Salomon's work is not about the Holocaust at all but, rather, about herself, her family, love, creativity, death, Nietzsche, Goethe, Richard Tauber, Michelangelo, and Beethoven. It chronicles the genesis of an artist from a family of dark secrets - mental illness, nervous breakdowns, molestation, suicides, drug overdoses, and Freudian love triangles: a harbinger to our age of grand confessionals.”