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This is a meditation on memory and on the ways in which memory has operated in the work of writers for whom the Holocaust was a defining event. It is also an exploration of the ways in which fiction and drama have attempted to approach a subject so resistant to the imagination. Beginning with W. G. Sebald, for whom memory and the Holocaust were the roots of a special fascination, Bigsby moves on to consider those writers Sebald himself valued, including Arthur Miller, Anne Frank, Primo Levi and Peter Weiss, and those whose lives crossed in the bleak world of the camps, in fact or fiction. The book offers a chain of memories. It sets witness against fiction, truth against wilful deceit. It asks the question who owns the Holocaust - those who died, those who survived to bear witness, those who appropriated its victims to shape their own necessities.
- Sales Rank: #2719698 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2006-10-30
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x 1.22" w x 5.98" l, 1.73 pounds
- Binding: Hardcover
- 416 pages
- Used Book in Good Condition
Review
"Bigsby's volume is a tremendous addition to the literature on Holocaust and memory. Scholars in this field will surely come to recognize this book for the huge contribution it makes."
Nathan Andrew Wilson, H-German
"The volume offers a well-expressed rumination on the complexities faced by writers of Holocaust literature and the controversies that have surrounded specific literary works."
Alexandra Garbarini, American Historical Review
About the Author
Christopher Bigsby is Professor of American Studies at the University of East Anglia.
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Its back cover states humbly that this book is "a meditation on memory." This is an enjoyable book on, paradoxically, a painful subject. The Holocaust as lived experiences resist artistic imagination, which is perhaps why so many works about it take the forms of reportage literature (eyewitness account, journals, diaries, interviews) or documentary. But Bigsby amply demonstrates that fiction and drama could sometimes set us free. If you think it is blasphemy to suggest the terrible events mesh well with imagination, read this book.
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