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This article offers the first scholarly study of Éva Gabányi’s (1918–73) hand-illustrated Kalendarz wspomnień (Calendar of Memories), created in 1944 in Rajsko, the women’s subcamp of Auschwitz devoted to botanical-scientific experimentation. Addressed and gifted to the Polish political prisoner Józefa Kaleta (later Kiwałowa, 1914–85), the Calendar of Memories is a hybrid object—at once diary, almanac, friendship album, and graphic narrative—whose form challenges the linear temporality typically associated with wartime camp autographic testimony. Rather than recording the carceral present in chronological sequence, Gabányi constructs an intricate and enigmatic grid of time and place in which each entry pairs a date with a fantastical or historical vignette. Across richly illustrated pages that traverse epochs—from prehistory and antiquity to the early modern period and imagined futures—the Calendar of Memories interweaves autobiography and myth, reality and fantasy, irony and longing, transforming the conditions of women’s confinement into narrative and visual mobility. Situating Gabányi’s work within a wider constellation of women’s autographic and graphic diaries produced in World War II sites of internment and imprisonment, and reading it through the prism of feminist theory (including scholarship on the gendered gaze and feminist approaches to fairy tales), the article argues that the Calendar of Memories is distinctive not only for its aesthetic inventiveness but also for its radical chronotopic strategy. Its revolutionary diary structure dismantles the patriarchal and totalitarian logics that sought to silence women by recasting them as agents of endurance, authorship, and defiance. Through recurring motifs—balls, dances, romances, and allegorical tableaux— Gabányi both cites and subverts gendered scripts drawn from fairy-tale romance and popular culture, redirecting the gaze and reassigning agency to female figures. At the same time, the Calendar of Memories encodes elements of camp experience (labor, hierarchy, vulnerability, and fleeting “privilege”) into a language of playful disguise and intimate address, inviting the addressee into an interpretive bond. By merging text and image into a sustained sequence of graphic witnessing, Gabányi constructs a unique feminist chronotope—a subversive “fairy-tale” that reclaims authorship over time, identity, and voice under conditions of extreme constraint.