Notes
Introduction
1. I follow Anne Hegerfeldt in using the term ‘magic realism’ rather than the more frequently used ‘magical realism’, since as Hegerfeldt states, ‘magic realism’ ‘can be read as a double noun phrase and thus better reflects the relationship of equality between magic and realism that is a fundamental aspect of the mode’ (Hegerfeldt, 2005, p. 1). 2. See also Menton (1982) and D’Haen (1995), p. 191. 3. For a useful discussion of this transition, and of the relationship of magic realism and lo real maravilloso to European surrealism, see Scarano (1999). 4. See Hegerfeldt (2005), p. 12, for a discussion of the problematic nature of such conflation. 5. Foster (1995), p. 273. 6. Precisely what Chanady might mean by ‘the semantic level’ will be discussed in greater detail below. 7. See also Hegerfeldt (2005), p. 59. 8. Dialogism is Bakhtin’s term for the principle of unfinalizable dialogue in literary discourse, as I shall discuss in Chapter 2 of this book. 9. See Cooper (1998), pp. 16–17; and Chanady (1986), p. 50. 10. See Brown (1990), p. 242. 11. ‘Hovering above the Pit’, based on a conversation between Rabbi Israel Spira and Baruch Singer, in Eliach (1982a), pp. 3–4; ‘Mothers’, based on an inter- view with Florette Kardysz by Ann Kardysz, in Eliach (1982a), pp. 66–7; ‘Number 145053’, based on an interview with Samuel Rothkopf by Baruch H. Hilsenrath, in Eliach (1982a), pp. 68–9. 12. ‘On the Waiting Bench at the Gallows (II)’, based on a conversation between Rabbi Israel Spira and Aaron Frankel, in Eliach (1982a), pp. 112–14 (p. 114). 13. See, for example, Grass (2004), p. 401. 14. See, for example, Grass (2004), p. 22.
1 The Dream of the End of the World
1. This disparity is a recurrent theme in the writings of such survivors as Primo Levi and Charlotte Delbo – see, for example, Levi (1987), p. 129. 2. See also Appleby et al. (1994), p. 4. This is the text cited by Dintenfass here. 3. Correlations between a realist approach to history and the characteris- tics of the realist novel have elsewhere been observed by such critics as Linda Hutcheon and Roland Barthes. See Hutcheon (1988), p. 109, and Barthes (1992). 4. It should be noted that in this essay, and in the context of the Holocaust, White does qualify his particular brand of constructivist historiography by
182 Notes 183
suggesting that the nature of the Holocaust precludes its representation in certain kinds of narrative (White’s approach is more usually understood as positing a greater freedom on the part of the historian to construct the mean- ing of the events through the mode of narrative employed). For a useful statement of Ankersmit’s position, see Ankersmit (1989). 5. The resemblance of Trachimbrod to the isolated communities of both Singer and Márquez is discussed by Feuer (2007, p. 37). 6. Lista is named on p. 193, although the characters continue to refer to her as ‘Augustine,’ the rescuer of Jonathan’s grandfather for whom she is at first mistaken. 7. For a discussion of Grandfather as himself possibly Jewish, and of the implications of this reading for the process of interpretation, see Codde (2010), p. 71. 8. Hamon identifies in realist discourse a tendency to ‘decipher, to seek out and read the signs of the intimate, “true” and deep being ... leading to an aesthetics of unity, reintroducing the narrative as a quest for knowl- edge, and reinstating a pedagogical type of relationship (the author transmits information to an “uninformed” reader)’ (Hamon, 1992, p. 180). 9. See, for example, Shires (2001), p. 65. 10. It is not explicitly stated that the ‘Dream of the end of the world’ may be attributed to Brod, but its narrator does refer to the River Brod in the dream as ‘that river with my name’ (EII, p. 272). 11. The Book of Antecedents might also be usefully considered in the context of the tradition of yizker-bikher (memorial books) which commemorate the histories and traditions of lost European Jewish communities. 12. For a discussion of the practice, in Jewish folk culture, of changing one’s name after misfortune, see Trachtenberg (2004), p. 168. 13. For a series of interesting discussions of the changing attitudes towards Holo- caust history in the USSR and Ukraine, see Hirszowicz (1993), Gitelman (1997), and Ivanova (2004). 14. The rain which falls continuously during the Russian occupation (EII, p. 197) may be considered another reference to Márquez’s text and to the symbolic undertones of its ‘magic’. 15. Procedural knowledge, according to Phil Mollon, refers to the preservation of behavioural and emotional responses conditioned by past trauma in individ- uals unable to speak or remember their experience in language – see Mollon (1998), p. 66, p. 69. 16. ‘Resolved antinomy’, as the Introduction to this book discusses, is a key element of Amaryll Chanady’s definition of magic realism, as advanced in Chanady (1985). 17. In this theorization Kerby follows Paul Ricoeur, who contends that ‘ “life stories” themselves become more intelligible when what one applies to them are the narrative models – plots – borrowed from history or fiction’ (Ricoeur, 1991, p. 188). 18. Alex’s feelings for Jonathan are also hinted at when he signs off a letter ‘Love, Alex’ after stating ‘I will now tell you, for the first time, exactly what I think. [ ...] I ask your forgiveness’ (EII, p. 242). Alex’s usual way of end- ing letters is the more formal and less personally revelatory ‘Guilelessly, Alexander’ (EII, p. 218). 184 Notes
19. ‘Writing under erasure’ is a form of writing which acknowledges the prob- lematic nature of the signs it employs, while nevertheless employing these signs as necessary components of discourse; in Hutcheon’s words, ‘it makes you want to have your historical referent and erase it too’ (Hutcheon, 1988, p. 145). 20. Such comments are echoed in a slightly different context by Hegerfeldt, who writes that ‘[i]n complementing an empirical historiographic practice with other types of discourse, magic realist texts go beyond revisions of spe- cific historical accounts to a revision of historiographic practice itself’ (2005, p. 177).
2 Magic Realism and Dialogic Postmemory
1. An interesting comparison might be made here with a passage from Anne Karpf’s second generation memoir The War After, in which Karpf states: ‘The Holocaust was our fairy-tale. Other children were presumably told sto- ries about goblins, monsters, and wicked witches; we learned about the Nazis. [...] [N]o fictional evil could have possibly rivalled the documentary version so often recounted to us and our visitors’ (Karpf, 1997, p. 94). 2. See, for example, Kuhn (2002), p. 161. 3. Bakhtin’s comments here form part of an argument for the polyphonic nature of Dostoevsky’s discourse. Polyphony, which will be defined in more detail later in the chapter, refers to the plurality of unhierarchized voices in a text, and will be understood as a fundamentally dialogic mode of discourse according to the understanding of dialogism advanced above. 4. This disparity has also been read as a cruelly satirical attack on European Jewry’s blindness to their looming fate – see, for example, Bernstein (1994), p. 68. 5. As discussed in the Introduction, Schulz’s stories are integrally concerned with the need to imaginatively reconstruct his own father, and these sto- ries themselves use metamorphosis to imagine the father figure in different guises: as a cockroach, a fly, and a crab, for example – see Schulz (1988), in particular ‘Cockroaches’ (pp. 78–81), ‘Dead Season’ (pp. 223–36) and ‘Father’s Last Escape’ (pp. 299–303). 6. Felix Landau is named as the SS officer who was Schulz’s protector in the Drohobycz Ghetto – see SUL, p. 101. 7. For a discussion of the reference to Holocaust survivors as ‘soap’ in Israeli discourse, see Segev (1993), p. 183. 8. See Baum (2000), paragraph 17, for a discussion of Wasserman’s status as returning repressed. 9. The dates given in brackets refer to these novels’ Hebrew publication.
3 Trauma and the Grotesque Body
1. The organs are linked by the guests to their own past suffering (including a mastectomy and a hysterectomy), and also relate forwards in time to the injuries Lisa will sustain during her death. Notes 185
2. See Chanady (1985), pp. 25–6. 3. For Danow, ‘the carnivalesque’ is (in this passage, at least) used as a blan- ket term for both positive and negative valences of the grotesque; I will be using ‘the grotesque’ in this capacity, with ‘the carnivalesque’ used in the (predominantly) positive sense articulated by Bakhtin. 4. See also Bakhtin (1984b), pp. 36–9. 5. For a critique of Danow’s arguments, see also Hegerfeldt (2005), p. 213. 6. See Bakhtin (1984b), pp. 36–9. 7. As Sue Vice notes, ‘[b]oth Bakhtin and Kristeva are concerned with the same areas: the maternal; the body and its margins; food; death; and the text’ (Vice, 1997, p. 161). 8. ‘If you can look beyond the gross expressions which her illness has dredged up from this normally shy and prudish girl, you may find pas- sages to enjoy. I speak as one who knows your Rabelaisian temperament’ (WH,p.14). 9. For an example of the significance of turns of phrase in Freudian case studies, see the case of Frau Caecilie M., whose facial paralysis is causally linked to a derogatory remark that she experiences as ‘like a slap in the face’ (Freud, 2004b, p. 181). 10. See also David Cowart’s comments on the allusion to Mary Magdalene in the name of Lisa’s aunt, Magda (Cowart, 1986, p. 219). 11. An interesting comparison might be made to the (circumcised) penis in Rawicz’s Blood from the Sky, a regenerative organ which becomes a signifier of death during the Holocaust. This shift is emphasized by Anthony Rudolf in his ‘Afterword’ to the text (Rudolf, 2004, p. 280). 12. Laura Tanner has noted the simultaneous presence of violent and sexual interpretive contexts to this image (Tanner, 1994, p. 70). 13. Dina Pronicheva is the survivor of Babi Yar whose testimony forms the basis of the treatment of the atrocity in Anatoli Kuznetsov’s novel Babi Yar (1970), one of Thomas’s sources for ‘The Sleeping Carriage’. 14. In the categorization of this episode as ‘carnivalesque’, I refer not to the sexual act per se, but to the nature of its representation here, in particu- lar the elements of ‘lowering’ which characterize the episode: Anna/Lisa’s description of being ‘eye-to-eye’ with the penis, which itself carries allusions to earthy fertility in its figuration as a ‘tulip bulb’, as well as the association with the animal in the image of the ‘bull’s pizzle’. See Bakhtin (1984b), p. 21, for a discussion of carnival degradation, and p. 316 for a discussion of the animal dimensions of the carnivalesque. 15. See, for example, Lougy (1991), p. 100; Cowart (1986), p. 218; and Robertson (1984), p. 462. 16. For a useful discussion of this distinction, see LaCapra (1998), p. 45. 17. Herman gives the example of psychiatrist Mardi Horowitz, who posits the existence of a ‘completion principle’ which compels the traumatized indi- vidual to repeat traumatic material in order to develop new mental schemata with which to assimilate it. 18. For a discussion of the phenomenon of Nachträglichkeit in the novel, see also Vice (2000), p. 47. 19. See Arva (2008), pp. 80–1. 186 Notes
4 The Light of the Dead Stars
1. See Katz (1994), pp. 27–9. 2. By this I concur with Inga Clendinnen that considering the Holocaust unique risks its ‘falling out of history’ and hence its removal from the valuable self-scrutiny of contemporary Western society (Clendinnen, 1999, p. 15). See also Rothberg (2009), p. 101. 3. See, for example, Ricoeur (1984), p. 68. 4. This should be distinguished from Ricoeur’s use of ‘third-time’ to denote ‘a way of characterizing the construction by historical thinking of connectors as determinate as calendar time’ (Ricoeur, 1988, p. 245). 5. See also Zamora (1989), p. 27, for a discussion of cyclical time and its termination in One Hundred Years of Solitude. 6. ‘Chronotope’ is Bakhtin’s term to describe ‘the intrinsic connectedness of temporal and spatial relationships’ in literature (Bakhtin, 1981, p. 84). 7. I refer here to the frequent association of Latin American magic realism with the use of ‘magic’ elements drawn from the belief systems of specific cultures – see, for example, Spindler (1993), p. 78. 8. In fact, the appropriation of mythic elements in Latin American magic realist texts is often used for ‘extrinsic’ ends, as such critics as Donald L. Shaw have observed – see Shaw (2005), p. 46. 9. A number of other critics have also categorized the novel’s use of this motif as magical – see, for example, Zanger (1993), p. 52. Judith Kerman identifies a number of other fantastic elements in the novel, including the section in which Ernie ‘becomes’ a dog (Kerman, 1993, pp. 18–19). 10. See Eliade (1954), pp. 52–3, for a more extensive discussion of regeneration. 11. This passage might also be linked to what Patricia Tobin terms ‘the “genealogical imperative”, which unites the last with the first’ and, through an imagery of dynastic descent, constructs temporal sequence as a purposeful and significant continuity – Tobin (1978), p. 5. 12. For example, Léon Poliakov’s History of Antisemitism, Schwarz-Bart’s acknowl- edged source, details at length the history of the various clothing restrictions placed on European Jews – see Poliakov (1974), pp. 64–7. Schwarz-Bart does occasionally contradict this source, though; Poliakov states that the Jews were expelled from France for the period 1321–61 (1974, p. 115), yet Schwarz-Bart places the death of Israel Levy in Toulouse, c1348. 13. See Davison (1995), p. 305. 14. See also the similar contextualization of the assault on Ernie as his friends re-enact the crucifixion of Christ (LJ, p. 149), and the later comment that ‘[t]he hours that Ernie Levy lived through in the freight car were lived through by a host of his contemporaries’ (LJ, p. 399). Such narratorial asides suggest the close relationship between the biographical time of Ernie’s life and the historical time in which his narrative unfolds. 15. See also Brooks (1992), especially pp. 58, 94, for a discussion of the relationship between the ‘desire for the end’ and the desire for meaning. 16. While foreshadowing refers to the prefiguration, within a narrative, of later events, backshadowing is defined by Bernstein as ‘a kind of retroactive fore- shadowing in which the shared knowledge of the outcome of a series of events by narrator and listener is used to judge the participants of those Notes 187
events as though they too should have known what was to come’ (Bernstein, 1994, p. 16; Bernstein’s emphasis). 17. Bernstein defines sideshadowing as ‘a gesturing to the side, to a present dense with multiple, and mutually exclusive, possibilities for what is to come’ (Bernstein, 1994, p. 1). 18. See, for example, Ezrahi (1980), p. 135. 19. It could be argued that the novel, in maintaining this sense of poise, might more adequately be understood as fantastic (in Todorov’s sense) rather than magic realist. While this is a justifiable reading of the text, it might also be argued that the sense of poise in the novel does not compel a choice. Instead, it dramatizes varying responses to temporal dissonance, and in its refusal to affirm or reject either one, functions in the way of magic realist narrative to illuminate complexity through an inclusive vision. 20. The distinction between event and Event is one made by Roskies (1984, p. 9).
5 ‘Into Eternity’s Certain Breadth’
1. As I will later discuss, the term ‘crossover’ refers to texts aimed at or appro- priated by a joint readership of adults and younger readers (in the case of The Book Thief, teenage or young adult readers). 2. For a discussion of the German Historians’ Debate, see Santner (1990), pp. 46–54, and Schlant (1999), pp. 196–7. 3. See, for example, Hume (1984), p. xii; Faris (1995); and Hegerfeldt (2005), p. 3. 4. Although Zusak’s Death does not claim any specific gender, I will use the male pronoun to refer to the narrator, as within the text, Max refers to Death as male (BT, p. 204). 5. The same kind of argument could be made about such ‘time-slip’ young adult Holocaust texts as Jane Yolen’s The Devil’s Arithmetic (1988), which uses the magical framing motif of time-travel as a device to draw the reader into the Holocaust narrative within. 6. For an excellent discussion of the Dance, see also Goodwin (1988). 7. See Kokkola (2003), p. 1. Other recent examples include Morris Gleitzman’s Once (2005) and Then (2008) and John Boyne’s The Boy in the Striped Pyjamas (2006). For a concise survey of children’s Holocaust texts of various genres and intended age ranges, see Baer (2000). 8. Indeed, these passages recall that problematic ‘kitsch of death’ discussed by Friedlander, in which ‘two contradictory elements are amalgamated: on the one hand, an appeal to harmony, to emotional communion at the simplest and most immediate level; on the other, solitude and terror’ (Friedlander, 1984, p. 27). 9. In the context of debates surrounding death and representation, the novel might also be seen as fetishistically reinstating the understanding of death as ‘expiration’ (a spiritual and redemptive vision of death) that, in Sandra M. Gilbert’s view, was rendered no longer tenable in the light of the horrors of the Holocaust, which suggested a view of human death as ‘termination’ – see Gilbert (2007), particularly p. 136. 188 Notes
10. Interestingly, Thomas’s own comments suggest that he viewed these ‘fan- tasies of healing’ as relatively unproblematic, or at least, as speculative reflections on a possible afterlife rather than disturbing fantasies of escape. As he states, ‘[m]y novel wasn’t about the holocaust, but about the journey of the soul, which I believe is endless’ (Thomas, 1988, p. 49). 11. ‘Resolved antinomy’, as discussed in the Introduction, is Chanady’s term for the acceptance of the supernatural event within the text and its experi- ence by the reader (in contrast to the conflicting nature of magical and real ontologies as recognized on a semantic level) – see Chanady (1985), p. 30. 12. The Last of the Just presents a slightly different case, since the disparity in this case is not between an ‘escape’ accepted within the text and the external unacceptability of this escape, but rather between two possibilities of tempo- ral emplotment – one of which carries a consolatory dimension – which are invoked simultaneously, and which remain in dialogue to the novel’s close. The problematization of consolation is hence internal to the novel itself. 13. See Beckett (1999), p. xv, for discussion of the crucial role of paratext in determining intended audience. 14. Liesel’s illiteracy at the beginning of the novel provides another example of this slippage, again attributing to her one of the characteristics of a much younger child. 15. This association of the child with the acceptance of magic is often found in theorizations of magic realism. See, for example, Hegerfeldt (2005), p. 146. 16. See, for example, Rose (1984), p. 8. 17. For a discussion of the child’s need for a happy ending as a projection of adult desire, see Bosmajian (2002), p. 135. 18. Eric Joseph Epstein and Philip Rosen, in their Dictionary of the Holocaust: Biography, Geography and Terminology (1997), p. 126, state of the term ‘Himmelstrasse’ that ‘[d]oomed members of deportation transports were forced to walk this path to gas chambers, especially at Treblinka’. 19. ‘The Word Shaker’ as a whole also, interestingly, recalls Jack Zipes’ commen- tary upon the appropriation of the fairy-tale to the self-identity of the Nazi state in the 1930s and 1940s (‘Hitler as fairy-tale king. Germany as glorious realm’) – Zipes (1991), p. 166. 20. It should be noted that The Book Thief does attempt to address the nuances of German guilt in such passages as ‘THE CONTRADICTORY POLITICS OF ALEX STEINER’(BT, pp. 61–2) and ‘SOME CRUNCHED NUMBERS’(BT, p. 65). 21. In this sense, it might be compared to Jane Yolen’s young adult novel Briar Rose, a Holocaust text based around the fairy tale of Sleeping Beauty, in a relation of self-conscious intertextuality which foregrounds the discrepancy between the narrative of survival and the likely historical reality. Such dis- crepancy is also emphasized in the accompanying ‘Author’s Note’, which states that ‘Happy-ever-after is a fairy tale notion, not history. I know of no woman who escaped from Chelmno alive’ – Yolen (1992), p. 202.
Conclusion
1. See Horowitz (1997), p. 16, for a similar stating of this paradox. 2. See Skibell, 1999b, p. 273. Notes 189
3. BM, p. 6. For a discussion of the Mayse-bukh in the context of Yiddish folk literature and as an influence upon later Yiddish writers, see Roskies (1995), p. 24. 4. See, for example, Bettelheim (1991), and Haase (2000). 5. Such parallels are unambiguously emphasized in the fact that the bakers are heard to speak German, and address Chaim as ‘Herr Jude’ in the episode in which he discovers the truth (BM, p. 191). 6. The Hotel Amfortas section might also be considered as enabling a repre- sentation of the diversity of Jewish experiences during the Holocaust (both Einsatzgruppen killing and concentration camp experience), in a compara- ble way to the attribution to Ernie Levy, in Schwarz-Bart’s The Last of the Just, of more than one death. Bibliography
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1.5 generation, 51 Baudrillard, Jean, 5 Berger, James, 109, 135–7, 141, 155–7 abject, the, 84, 86, 88–9, 92–5, 96, Bernstein, Michael André, 110, 137, 98–9, 102, 104, 105, 110, 151 159–60, 184n4, 186–7n16 absurdity, 38, 126, 140 Bettelheim, Bruno, 179 acting out, 106–8 Blanchot, Maurice, 77, 117–18, 131 adolescence, 2, 149, 153, 156, 157, boundaries, transgression of 159, 164–6, 170 bodily, 82–3, 84, 88–9, 90–1, 103–4, afterlife, 90, 92, 144, 147, 155, 177, 105–6, 108, 109 188n10 and trauma, 104–6, 108, 109 van Alphen, Ernst, 26, 174 Borges, Jorge Luis, 41 America, popular conceptions of Boyne, John, 157, 187n7 European Jewish past, 34–5 Breuer, Josef, 95, 101, 102–3, 105–6, Amis, Martin, 119 107 antirealism, 2, 20, 23–4, 25–9, 33–40, Bukiet, Melvin Jules, 29, 62 41, 42, 48–9, 165, 173 antisemitic persecutions prior to Camus, Albert, 140 Holocaust, 99–100, 125, 129–30, carnivalesque, the, 84, 85, 86–8, 89, 131–2 91–2, 95, 96, 100, 104, 185n14 apocalypse, 135–41, 149 Carpentier, Alejo, 3–4 aporia, 20, 112, 115, 119–20, 125, 131, Caruth, Cathy, 26, 41, 48, 49, 51, 103, 142–3, 174 105, 113–14, 125, 131, 132, 174 Appelfeld, Aharon, 60, 82, 86 Chabon, Michael, 1 archive, 31–2, 65 Chanady, Amaryll, 5, 7, 8–9, 11, 83, Arva, Eugene, 5, 110, 174, 185n19 182n9, 183n16, 185n2, 188n11 Asturias, Miguel Angel, 7 childhood authorial reticence, 8–9, 11 adult conceptions of, 163, 164–7, 188n15, 188n17 Babi Yar, 82, 90, 94–5, 97–9, 109, 155, and abjection, 94–5 185n13 Freudian discussions of, 100 backshadowing, see Bernstein and Holocaust literature/film, Bakhtin, Mikhail 149–50, 162, 164–7, 187n7 and chronotope, 122, 132, 186n6 and literature, 16, 19, 72, 162–4 and dialogism, 55–7, 58, 63, 74, and political difference, elision of, 142, 182n8, 184n3 167–9 and polyphony, 74, 184n3 and postmemory, 50–3, 61, 176, and the carnivalesque/grotesque, 184n1 84, 85, 86–8, 89–90, 92, 95–6, children’s Holocaust literature, 100, 103–4, 185n14 149–50, 162, 187n7 Baron, Lawrence, 149–51, 162, 174 double approach of, 150, 162 Barthes, Roland, 11, 182n3 chronotope, see Bakhtin Bataille, Georges, 108 colonialism, 3, 13, 22
202 Index 203 consolation, 17–18, 19, 20, 124, fable, 152, 170–1 126–7, 130, 131, 141, 143, 144–7, fairy-tale, 53, 172, 177–9, 184n1, 150, 151–7, 161–2, 165–7, 170, 188n19, 188n21 173, 174, 175, 180–1 fantastic, the, 5, 6, 8–9, 58–9, 83, Cooper, Brenda, 7–8, 13, 120–2, 125, 187n19 182n9 Faris, Wendy B., 5, 6, 8, 11, 13, 22, 49, Cortázar, Julio, 6, 11–12 82, 83, 84, 187n3 crossover literature, 1, 144, 147, 153, Felman, Shoshana, 26, 105 162–7, 169–70, 171, 187n1 feminism, 13, 22, 59 cyclical time, see temporality film, 146, 150, 156 Fink, Ida, 118 Danow, David K., 85–6, 185n3 Foer, Jonathan Safran, 1, 2, 6, 8, 12, death 15, 20, 29–49, 51, 52, 65, 123, and abject, 94–5, 99 174, 175, 176, 179, 181 carnivalesque conception of, 85, 87, foreshadowing, 137, 158–60, 162, 92, 96 186n16 and martyrdom, 125–6, 127–8, 135, Frank, Anne, 164–5 139 Freud, Sigmund and memory, 160–1 and hysteria, 90, 102–3, 106, 185n9 personification of, 1, 18, 148–9, and repetition, 100, 107 151–3 and symbolism, 90 as rescue, 153–7 and trauma, 100, 103, 104–5, 107, defamiliarization, 3, 38, 180 109, 110, 114 Delbo, Charlotte, 182n1 Friedlander, Saul, 23, 25, 26, 27, 48, Derrida, Jacques, 48 187n8 detonalization, 10–11 Fuentes, Carlos, 21, 122 dialogism, see Bakhtin, magic realism, postmemory Gary, Romain, 6 diegetic levels, 6–7, 30–1, 117 dreams, 1, 35, 43, 82, 90, 93, 99, 107, German responsibility, issue of, 18–19, 116–19, 123, 141, 168, 179 146, 169, 171, 188n20 Germany, post-war identity of, 18–19, 146, 178 Eaglestone, Robert, 31, 49, 77 Gleitzman, Morris, 187n7 Eichmann, trial of, 68 Goldstein, Rebecca, 29 Eliach, Yaffa, 17–18, 32 golem, 1 Eliade, Mircea, 126, 128, 186n10 Grass, Günter, 18–20, 21, 82 escapism, 2, 144, 145–6, 161 Grossman, David, 2, 6, 8, 15–16, 50, ethics, 1–2, 20, 101, 110, 144–5, 53, 59–67, 70–80, 144, 146, 172, 147, 150, 154, 167, 169, 173, 175, 180, 181 175, 179 grotesque, the, 2, 10, 82–90, 95–9, and antirealism, 28 101, 103–6, 108–11, 173, 174 and apocalyptic history, 137, 159 see also abject, carnivalesque Levinasian, 55, 77 and narrative fetishism, 18 and oblique representation, 43 Hamon, Philippe, 10–11, 25, 32, and postmemory, 50, 54–5, 65, 183n8 72–81, 175, 181 Hasidic legend, 8, 18, 123–4 Evans, Richard, 24–5, 28 Hasidic tale, the, 17–18 204 Index
Hegerfeldt, Anne C., 5, 6, 9, 10, 12, Israel 38, 44, 182n1, 182n4, 184n20, and statist ideology, 68, 71 185n5, 187n3, 188n15 collective memory of, 65–6, 68, 71 hesitation, 8 military aggression of, 68–9, 70 Hilberg, Raul, 25 Holocaust discourse in, 14, 60, 65–6, Himmelfarb, Gertrude, 24 67, 68–70, 71, 184n7 Hirsch, Marianne, 14–15, 50–2, 54–5, 66, 73–4, 78, 163–4, 167, 169, 174 Jackson, Rosemary, 6, 58–9, 69, 71 see also postmemory Historians’ Debate, 146, 187n2 Kafka, Franz, 7, 9–10, 60, 82, 122, 144 historical knowledge, 22, 23–9, 30, Kaniuk, Yoram, 60, 69, 71 32–5, 37, 38, 40, 41–2, 43, 44, 49 Katz, Steven T., 115 Kertzer, Adrienne, 150, 162, 164–6, historical narrative, referentiality of, 167, 174 22, 23, 27, 29, 38, 48–9 Kiš, Danilo, 16, 178 historical realism, 1 kitsch, 187n8 historiographic metafiction, 19, 20, Kosinski, Jerzy, 82, 86 21–2, 29, 39–40, 48, 50 Kristallnacht, 18 historiography, Holocaust, 13, 14, Kristeva, Julia, see abject 23–4, 25, 37, 48, 114, 115 historiography, linguistic turn in, 25 Lacan, Jacques, 88 Hitler, 152, 170–1, 178, 188n19 LaCapra, Dominick, 28, 42, 107, Holocaust denial, 23, 24, 25, 28, 48 185n16 Holocaust representation, commercial Lamed-waf, 123–6, 135 aspects, 34–5, 146 Langer, Lawrence, 112–14, 125, 131, Holocaust rhetoric, 1, 26–7 139–40, 142 Holocaust survivor, depiction as Latin America, 3–4, 85, 122–3, 124, magical, 60, 71 186n7 Holocaust, assimilability to existing lesbian butch-femme sexuality, 107–8 narrative paradigms, 8, 18, 24, 26, Levi, Primo, 116–17, 182n1 113, 130, 136, 138–9, 140, 141, Levinas, Emmanuel, 55, 77–9, 80 146, 156 Lind, Jakov, 6 Holocaust, uniqueness of, 114–6, Lipstadt, Deborah, 25, 28 186n2 literacy, 168, 188n14 humour, 9, 38, 84, 148, 169 Littell, Jonathan, 82 Hutcheon, Linda, see historiographic lo real maravilloso, 3–4, 182n3 metafiction lower bodily stratum, 87, 96 hysteria, 82, 90, 98, 101–2, 102–3, Lyotard, Jean-François, 26 105, 106, 107, 109 and the carnivalesque, 106, 107 magic realism and child’s perspective, 167, 188n15 canon of, 4, 7 ideology, impact on popular critical history and definition of, Holocaust representation, 34, 38, 3–13 40, 146 dialogism of, 13, 14, 20, 50, 57–9, immortality, 60, 70–1, 73, 79 64, 65, 72, 80, 84, 175 indigenous myth, 3, 7 duality of ontological codes, 3, 4, intertextuality, 8, 30, 53, 55, 57, 61–3, 5–7, 8 177–8, 188n21 ex-centricity of, 13–14 Index 205
inversion of supernatural and painting, magic realism in, 3 real, 10 parody, 18–19, 34, 40 and realism, 5, 9, 10–13 Perec, Georges, 51, 52 relationship with grotesque, 20, 82, photography, 32, 55, 163–4, 167 83–4, 85–6, 95, 109–11 ‘physiological clairvoyance’, 8, 102 resolved antinomy, 8–9, 10, 44, 156, Pietri, Arturo Uslar, 3 183n16, 188n11 Poliakov, Léon, 186n12 and time, see temporality polyphony, 73, 74–8, 184n3 magic realist Holocaust literature pornography, 100, 111 internationality of, 2 postcolonialism, 13, 22, 59, 122 proliferation of, 1, 2, 173 post-Expressionism, 3 magic postmemory, 14–17, 50–1, 52, 59, 61, acceptance of, 4, 8–10 62, 63, 71, 80, 173, 174, 175, idiosyncrasy of, 8, 30, 70 176–8 origin of, 7–8, 124 and collective context, 65–6, 71–2 Márquez, Gabriel García, 7, 10, 15, 30, and dialogism, 55, 57, 63, 65, 72, 41, 120–1, 123, 183n14 73, 78 Martel, Yann, 1 and ethics, 16, 50, 54–5, 64–5, 72, marvellous, the, 9 73, 74–5, 78, 80–1, 175 maternal, the, 88, 92–3, 94 and identification, 54–5, 57, McHale, Brian, 14, 30, 34, 60 73–4, 78 ‘memorial candle’, 61, 71 imaginative dimension, 15, 16–17, memory 52–3, 55, 61, 63 subjectivity of, 54 and trauma, 50, 51–2, 54 supernatural representation of, 18, postmodernism, 22, 24, 27, 48, 116 41–2, 60, 71, 160–1 Pratchett, Terry, 148 Messianic imagery, 127–8, 138–9, prophecy, 1, 35–6, 43, 112 161 metafiction, 1, 7, 27, 76, 111 Rabelais, 90, 92 Rawicz, Piotr, 82, 185n11 metamorphosis, 7, 9, 15–16, 62–3, 64, realism, literary mode of, 6, 10–13, 25, 66–7, 70, 82 33, 83 Michaels, Anne, 51 realism (vs antirealism), 2, 20, 23–5, mimesis, 6, 10–12 28–9, 30–3, 34, 35, 36, 40, 46, modernism, 120, 122 48–9, 173 Morrison, Toni, 13 religious faith, 117, 124, 132, 136–7, 139, 141–2, 157 nachträglichkeit, 109, 111, 185n18 rhetoric (and Holocaust), see narrative fetishism, 18, 25, 146, 155, Holocaust rhetoric 169 Ricoeur, Paul, 119–20, 142, 183n17, narrative truth, 42, 43–6 186n4 New Objectivity, 3 Roh, Franz, 3–4 nonsense, 47 Rose, Jacqueline, 167 numerology, 17 Rothberg, Michael, 23–4, 25, 28–9, 40, 42, 186n2 Okri, Ben, 7, 13 Rushdie, Salman, 6, 19–20, 21, 82 Orality, 93 Oz, Amos, 60, 71, 172 Sangari, Kumkum, 120–3 Ozick, Cynthia, 16, 164–5, 178 Santner, Eric, 18, 24, 25, 146, 169 206 Index satire, 19, 34 threshold, chronotope of, 132 Scheherazade, 73, 76 Todorov, Tzvetan, see fantastic Scholem, Gershom, 123–4 tourism, Schulz, Bruno, 14–17, 59, 61, 62–5, heritage, 34 66–7, 69, 70, 71, 144, 172, 178, Holocaust, 34 184n5 trauma, 18, 20, 24, 25–6, 28, 29, 41, Schwarz-Bart, André, 2, 8, 18, 112, 42–3, 45, 48, 82–3, 84, 86, 103, 123–43, 181, 188n12, 189n6 104–6, 107, 113–14, 132, 173–4 Sebald, W.G., 51 and grotesque, 95–9, 101–2, 103, second generation, 14, 15, 50–1, 52, 104–6, 107–9, 110–11, 173 55, 71 and mastery, 97 00–101, 106–9; see semiotic, 88, 104 also working through sentimentality, 154, 158 Nachträglichkeit, 109, 111, 185n18 ‘sideshadowing’, 137, 160, 187n17 oblique representation of, 37, 41–2, Singer, Isaac Bashevis, 15, 30, 183n5 43–4, 46, 47–8, 49, 175, 178–9 Skibell, Joseph, 1, 176–81 and postmemory, 51–2, 54, 66 Slemon, Stephen, 13, 58, 80, 84, 175 and repetition, see acting out, Freud, Sontag, Susan, 108 working through Spiegelman, Art, 27 traumatic realism, 28–9, 40, 42 Spielberg, Stephen, 146, 156 Stalinism, 99, 146 Ukraine, Holocaust discourse in, 40, Stone, Dan, 13, 25 183n13 sublimation, 100, 106, 109 uncanny, the, 3, 95 sublimity, 28, 41 United States Holocaust Memorial surrealism, 182n3 Museum, 32 Süskind, Patrick, 6 USSR, Holocaust discourse in, 183n13 symbolic order, 88–9, 93, 104, 105 Vice, Sue, 166, 185n7, 185n18 visual elements in narrative, 151–3, telepathy, 6, 21 170–2 temporality cyclical, 35–6, 118–19, 120–1, 122, Western rationalism, 6, 12, 25, 174 123, 124–6, 128, 131, 135 White, Hayden, 24, 27, 37, 39, disruption of, 42, 112–19, 131, 182–3n4 134–5, 137, 140, 174 Wiesel, Elie, 26, 117–18 linear, 35–6, 113, 115–16, 120–1, working through, 106–9, 111 122, 123, 125–6, 127, 128, 131–2, 135 Yiddish literature, influence of, 30, magic realist, 2, 20, 109–10, 111, 177–8, 189n3 112, 120–3, 125, 131, 173 yizker bikher (memorial books), mythic, 35, 125–6, 128, 131, 133, 183n11 135 Yolen, Jane, 187n5, 188n21 traumatic, 113–14, 118, 125, 131–5, young adult literature, 147, 149–50, 136, 174 164, 165, 175; see also adolescence testimony, 14, 28, 29, 31, 32, 44, 55, Zamora, Lois Parkinson, 13, 49, 84, 68, 116–19, 133 136–7, 141, 186n5 third generation, 14, 15, 29, 51 Zionism, 68 Thomas, D.M., 2, 6, 8, 20, 82–3, 86, Zusak, Markus, 1, 2, 8, 18, 20, 144, 89–111, 112, 123, 144, 146–7, 146–72, 175, 180, 181 154–6, 172, 173, 179, 181