It dealt with the degrading compromises survivors had to make, the black humor of inmates who would sometimes laugh hysterically over gruesome sights, the religious and national tensions among inmates (e.g. between the Jewish musicians and the Poles, some of whom were anti-Semitic), and the normality of prostitution and lesbian relationships. At Birkenau, Fénelon served as a pianist, one of the two main singers, an occasional arranger of musical pieces, and even a temporary drummer, when the original drummer briefly took ill.
This account addressed the difficult concessions prisoners had to make, the dark humor exhibited by inmates who would occasionally laugh uncontrollably at gruesome scenes, the religious and national conflicts among inmates (e.g., between Jewish musicians and Polish inmates, some of whom held anti-Semitic views), and the everyday reality of prostitution and lesbian relationships. At Birkenau, Fénelon worked as a pianist, one of the two main singers, occasionally arranging musical pieces, and even filling in as a drummer when the original drummer was temporarily incapacitated.