A new evaluation of Martin Luther King, Jr.’s, renowned speech, now hailed as the most powerful American address of the twentieth centuryIncludes the entire text of "I Have A Dream"“I have a dream”—no words are more widely recognized, or more often repeated, than those called out from the steps of the Lincoln Memorial by Martin Luther King, Jr., in 1963. King’s speech, elegantly structured and commanding in tone, has become shorthand not only for his own life but for the entire civil rights movement. In this new exploration of the “I have a dream” speech, Eric J. Sundquist places it in the history of American debates about racial justice—debates as old as the nation itself—and demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expressed the story of African American freedom.This book is the first to set King’s speech within the cultural and rhetorical traditions on which the civil rights leader drew in crafting his oratory, as well as its essential historical contexts, from the early days of the republic through present-day Supreme Court rulings.  At a time when the meaning of the speech has been obscured by its appropriation for every conceivable cause, Sundquist clarifies the transformative power of King’s “Second Emancipation Proclamation” and its continuing relevance for contemporary arguments about equality.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.The chapters include: an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe an evaluation of the work of survivor-historians and memoir writers new light on the Jewish historical commissions and the Jewish documentation centres studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians theatrical productions by survivors and the first films on the theme made in Hollywood how the Holocaust had an impact on the everyday life of Jews in the USA and a discussion of the different types, and meanings, of ‘silence’. A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.The chapters include: an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe an evaluation of the work of survivor-historians and memoir writers new light on the Jewish historical commissions and the Jewish documentation centres studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians theatrical productions by survivors and the first films on the theme made in Hollywood how the Holocaust had an impact on the everyday life of Jews in the USA and a discussion of the different types, and meanings, of ‘silence’. A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

Increased interest in the role of women and minorities in establishing the canon of American literature has led to renewed interest in Uncle Tom's Cabin. The essays in this volume set out to provide contemporary readers with a critical and historical interpretation of the novel that reflects the best of recent scholarship. In his introduction Eric J. Sundquist attempts to show that Uncle Tom's Cabin boldly takes issue with both proslavery arguments and prevailing prejudices among abolitionists, employing the forms of popular melodrama and heated rhetoric to carry its complex argument. The individual essays examine the influence of Stowe's novel on the characterization of women in the American novel and on later women writers, the role of women in the antislavery movement, the literary exchanges between Stowe and her contemporaries; Uncle Tom's Cabin and the tradition of the Gothic novel, and the characterizations of blacks in this novel and in later works.

This is a 1993 collection of fourteen essays by America's leading historians and literary critics which evaluates the importance of Frederick Douglass in his own day and on into the twentieth century. As a result of the research and interpretation in both literary and historical studies, Frederick Douglass has assumed a central place in the revival of interest in the multicultural study of American literature. His autobiographies are fundamental case studies of the slave narratives that form the basis of African-American culture. His remarkable achievements as abolitionist orator, journalist, and writer of fiction and historical essays have made him a pivotal figure in a variety of disciplines. The essays examine Douglass' own views on gender and class, as well as racial issues, and place his thought and writings in the context of debates about slavery and freedom that dominated the intellectual landscape of nineteenth-century America.

In a culture deeply divided along ethnic lines, the idea that the relationship between blacks and Jews was once thought special—indeed, critical to the cause of civil rights—might seem strange. Yet the importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. It is this record, written across the annals of American history and literature, culture and society, that Eric Sundquist investigates. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon politics, sociology, law, religion, and popular culture to illuminate a vital, highly conflicted interethnic partnership over the course of a century.Sundquist explores how reactions to several interlocking issues—the biblical Exodus, the Holocaust, Zionism, and the state of Israel—became critical to black–Jewish relations. He charts volatile debates over social justice and liberalism, anti-Semitism and racism, through extended analyses of fiction by Bernard Malamud, Paule Marshall, Harper Lee, and William Melvin Kelley, as well as the juxtaposition of authors such as Saul Bellow and John A. Williams, Lori Segal and Anna Deavere Smith, Julius Lester and Philip Roth. Engaging a wide range of thinkers and writers on race, civil rights, the Holocaust, slavery, and related topics, and cutting across disciplines to set works of literature in historical context, Strangers in the Land offers an encyclopedic account of questions central to modern American culture.

This powerful book argues that white culture in America does not exist apart from black culture. The revolution of the rights of man that established this country collided long ago with the system of slavery, and we have been trying to reestablish a steady course for ourselves ever since. To Wake the Nations is urgent and rousing: we have integrated our buses, schools, and factories, but not the canon of American literature. That is the task Eric Sundquist has assumed in a book that ranges from politics to literature, from Uncle Remus to African American spirituals. But the hallmark of this volume is a sweeping reevaluation of the glory years of American literature—from 1830 to 1930—that shows how white literature and black literature form a single interwoven tradition.By examining African America’s contested relation to the intellectual and literary forms of white culture, Sundquist reconstructs the main lines of American literary tradition from the decades before the Civil War through the early twentieth century. An opening discussion of Nat Turner’s “Confessions,” recorded by a white man, Thomas Gray, establishes a paradigm for the complexity of meanings that Sundquist uncovers in American literary texts. Focusing on Frederick Douglass’s autobiographical books, Herman Melville’s Benito Cereno, Martin Delany’s novel Blake; or the Huts of America, Mark Twain’s Pudd’nhead Wilson, Charles Chesnutt’s fiction, and W. E. B. Du Bois’s The Souls of Black Folk and Darkwater, Sundquist considers each text against a rich background of history, law, literature, politics, religion, folklore, music, and dance. These readings lead to insights into components of the culture at large: slavery as it intersected with postcolonial revolutionary ideology; literary representations of the legal and political foundations of segregation; and the transformation of elements of African and antebellum folk consciousness into the public forms of American literature.

Faulkner: The House Divided extends Abraham Lincoln's metaphor of a polarized nation to the twentieth-century. Southern psyche and the extraordinary career of its foremost spokeman. Through readings of The Sound and the Fury, As I Lay Dying, Sanctuary, Light in August, Absalom, Absalom!, and Go Down, Moses, Eric Sundquist probes William Faulner's complex attitudes toward the tragedy of the Civil War, toward Jim Crow laws, racial violence, and segregation, toward Black freedom and white fears.Faulkner's novels and their intricate narratice technique express the tragic passions, betrayed human sympathies, and potentially violent pressures for social change that governed the relationships between Blacks and whites. In this detailed and at times controversial study, now available for the first time in paperback, Sundquist examines the novelist's gradual discovery and artistic mastery of the racial problems that make up his own history and that of his country. "The novels that demand our attention now, as they always will," he writes, "are the ones in which the nation's most tragic and defining historical experience found its appropriately convulsive forms of expression and in which Faulkner became the great writer he has always been recognized to be."

In The Hammers of Creation, Eric J. Sundquist analyzes the powerful role played by folk culture in three major African-American novels of the early twentieth century: James Weldon Johnson's The Autobiography of an Ex-Coloured Man, Zora Neale Hurston's Jonah's Gourd Vine, and Arna Bontemps's Black Thunder.Sundquist explains how the survival of cultural traditions originating in Africa and in slavery became a means of historical reflection and artistic creation for modern writers. He goes on to illustrate and compare how the three representative novels use aspects of African-American culture, including the folklore of slavery, black music from spirituals to jazz, black worship and sermonic form, and African-American resistance to slavery and segregation.The Hammers of Creation focuses on the unique narrative form of each of the three novels—Johnson's fictive autobiography, Hurston's ethnographic commentary combined with personal narrative, and Bontemps's historical fiction based on Gabriel's slave rebellion—to illustrate the range of fictional strategies black writers have employed. Through their attempts to gain cultural integrity, Sundquist explains, these writers were able to recover and preserve vital aspects of African-American history.Sundquist argues that by incorporating vernacular culture and the oral tradition into their works, Johnson, Hurston, and Bontemps challenge the primacy of written narrative while creating an African-American literary tradition that links the world of African ancestors and antebellum culture to the world of contemporary letters.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.

The chapters include:

an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe

an evaluation of the work of survivor-historians and memoir writers

new light on the Jewish historical commissions and the Jewish documentation centres

studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians

theatrical productions by survivors and the first films on the theme made in Hollywood

how the Holocaust had an impact on the everyday life of Jews in the USA

and a discussion of the different types, and meanings, of ‘silence’.

A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.

The chapters include:

an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe

an evaluation of the work of survivor-historians and memoir writers

new light on the Jewish historical commissions and the Jewish documentation centres

studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians

theatrical productions by survivors and the first films on the theme made in Hollywood

how the Holocaust had an impact on the everyday life of Jews in the USA

and a discussion of the different types, and meanings, of ‘silence’.

A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

Originally published in 1979. Eric Sundquist takes four representative writers—James Fenimore Cooper, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville—and considers the way in which each grapples with the crucial issues of genealogy and authority in his works. From all four a common pattern emerges: the desire to revolt against the past is countered by the need to invoke or even repeat it. Sundquist's approach to the texts is psychoanalytic, but he does not attempt a clinical dissection of each writer; rather, he determines how personal crisis became material for engaging with larger questions of social and literary crisis.

A comprehensive survey of the most important writing to come out of the Holocaust.Finalist for the 2019 National Jewish Book Award in the Anthologies and Collections Category presented by the Jewish Book CouncilSilver Winner for Anthologies, 2018 Foreword INDIES Book of the Year Awards Writing in Witness is a broad survey of the most important writing about the Holocaust produced by eyewitnesses at the time and soon after. Whether they intended to spark resistance and undermine Nazi authority, to comfort family and community, to beseech God, or to leave a memorial record for posterity, the writers reflect on the power and limitations of the written word in the face of events often thought to be beyond representation. The diaries, journals, letters, poems, and other works were created across a geography reaching from the Baltics to the Balkans, from the Atlantic coast to the heart of the Soviet Union, and in a wide array of original languages. Along with the readings, Eric J. Sundquist's introductions provide a comprehensive account of the Holocaust as a historical event. Including works by prominent authors such as Primo Levi and Elie Wiesel, as well those little known or anonymous, Writing in Witness provides, in vital and memorable examples, a wide-ranging account of the Holocaust by those who felt the imperative to give written testimony.

A new evaluation of Martin Luther King, Jr.’s, renowned speech, now hailed as the most powerful American address of the twentieth centuryIncludes the entire text of "I Have A Dream"“I have a dream”—no words are more widely recognized, or more often repeated, than those called out from the steps of the Lincoln Memorial by Martin Luther King, Jr., in 1963. King’s speech, elegantly structured and commanding in tone, has become shorthand not only for his own life but for the entire civil rights movement. In this new exploration of the “I have a dream” speech, Eric J. Sundquist places it in the history of American debates about racial justice—debates as old as the nation itself—and demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expressed the story of African American freedom.This book is the first to set King’s speech within the cultural and rhetorical traditions on which the civil rights leader drew in crafting his oratory, as well as its essential historical contexts, from the early days of the republic through present-day Supreme Court rulings.  At a time when the meaning of the speech has been obscured by its appropriation for every conceivable cause, Sundquist clarifies the transformative power of King’s “Second Emancipation Proclamation” and its continuing relevance for contemporary arguments about equality.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.The chapters include: an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe an evaluation of the work of survivor-historians and memoir writers new light on the Jewish historical commissions and the Jewish documentation centres studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians theatrical productions by survivors and the first films on the theme made in Hollywood how the Holocaust had an impact on the everyday life of Jews in the USA and a discussion of the different types, and meanings, of ‘silence’. A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.The chapters include: an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe an evaluation of the work of survivor-historians and memoir writers new light on the Jewish historical commissions and the Jewish documentation centres studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians theatrical productions by survivors and the first films on the theme made in Hollywood how the Holocaust had an impact on the everyday life of Jews in the USA and a discussion of the different types, and meanings, of ‘silence’. A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

Increased interest in the role of women and minorities in establishing the canon of American literature has led to renewed interest in Uncle Tom's Cabin. The essays in this volume set out to provide contemporary readers with a critical and historical interpretation of the novel that reflects the best of recent scholarship. In his introduction Eric J. Sundquist attempts to show that Uncle Tom's Cabin boldly takes issue with both proslavery arguments and prevailing prejudices among abolitionists, employing the forms of popular melodrama and heated rhetoric to carry its complex argument. The individual essays examine the influence of Stowe's novel on the characterization of women in the American novel and on later women writers, the role of women in the antislavery movement, the literary exchanges between Stowe and her contemporaries; Uncle Tom's Cabin and the tradition of the Gothic novel, and the characterizations of blacks in this novel and in later works.

This is a 1993 collection of fourteen essays by America's leading historians and literary critics which evaluates the importance of Frederick Douglass in his own day and on into the twentieth century. As a result of the research and interpretation in both literary and historical studies, Frederick Douglass has assumed a central place in the revival of interest in the multicultural study of American literature. His autobiographies are fundamental case studies of the slave narratives that form the basis of African-American culture. His remarkable achievements as abolitionist orator, journalist, and writer of fiction and historical essays have made him a pivotal figure in a variety of disciplines. The essays examine Douglass' own views on gender and class, as well as racial issues, and place his thought and writings in the context of debates about slavery and freedom that dominated the intellectual landscape of nineteenth-century America.

In a culture deeply divided along ethnic lines, the idea that the relationship between blacks and Jews was once thought special—indeed, critical to the cause of civil rights—might seem strange. Yet the importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. It is this record, written across the annals of American history and literature, culture and society, that Eric Sundquist investigates. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon politics, sociology, law, religion, and popular culture to illuminate a vital, highly conflicted interethnic partnership over the course of a century.Sundquist explores how reactions to several interlocking issues—the biblical Exodus, the Holocaust, Zionism, and the state of Israel—became critical to black–Jewish relations. He charts volatile debates over social justice and liberalism, anti-Semitism and racism, through extended analyses of fiction by Bernard Malamud, Paule Marshall, Harper Lee, and William Melvin Kelley, as well as the juxtaposition of authors such as Saul Bellow and John A. Williams, Lori Segal and Anna Deavere Smith, Julius Lester and Philip Roth. Engaging a wide range of thinkers and writers on race, civil rights, the Holocaust, slavery, and related topics, and cutting across disciplines to set works of literature in historical context, Strangers in the Land offers an encyclopedic account of questions central to modern American culture.

This powerful book argues that white culture in America does not exist apart from black culture. The revolution of the rights of man that established this country collided long ago with the system of slavery, and we have been trying to reestablish a steady course for ourselves ever since. To Wake the Nations is urgent and rousing: we have integrated our buses, schools, and factories, but not the canon of American literature. That is the task Eric Sundquist has assumed in a book that ranges from politics to literature, from Uncle Remus to African American spirituals. But the hallmark of this volume is a sweeping reevaluation of the glory years of American literature—from 1830 to 1930—that shows how white literature and black literature form a single interwoven tradition.By examining African America’s contested relation to the intellectual and literary forms of white culture, Sundquist reconstructs the main lines of American literary tradition from the decades before the Civil War through the early twentieth century. An opening discussion of Nat Turner’s “Confessions,” recorded by a white man, Thomas Gray, establishes a paradigm for the complexity of meanings that Sundquist uncovers in American literary texts. Focusing on Frederick Douglass’s autobiographical books, Herman Melville’s Benito Cereno, Martin Delany’s novel Blake; or the Huts of America, Mark Twain’s Pudd’nhead Wilson, Charles Chesnutt’s fiction, and W. E. B. Du Bois’s The Souls of Black Folk and Darkwater, Sundquist considers each text against a rich background of history, law, literature, politics, religion, folklore, music, and dance. These readings lead to insights into components of the culture at large: slavery as it intersected with postcolonial revolutionary ideology; literary representations of the legal and political foundations of segregation; and the transformation of elements of African and antebellum folk consciousness into the public forms of American literature.

Faulkner: The House Divided extends Abraham Lincoln's metaphor of a polarized nation to the twentieth-century. Southern psyche and the extraordinary career of its foremost spokeman. Through readings of The Sound and the Fury, As I Lay Dying, Sanctuary, Light in August, Absalom, Absalom!, and Go Down, Moses, Eric Sundquist probes William Faulner's complex attitudes toward the tragedy of the Civil War, toward Jim Crow laws, racial violence, and segregation, toward Black freedom and white fears.Faulkner's novels and their intricate narratice technique express the tragic passions, betrayed human sympathies, and potentially violent pressures for social change that governed the relationships between Blacks and whites. In this detailed and at times controversial study, now available for the first time in paperback, Sundquist examines the novelist's gradual discovery and artistic mastery of the racial problems that make up his own history and that of his country. "The novels that demand our attention now, as they always will," he writes, "are the ones in which the nation's most tragic and defining historical experience found its appropriately convulsive forms of expression and in which Faulkner became the great writer he has always been recognized to be."

In The Hammers of Creation, Eric J. Sundquist analyzes the powerful role played by folk culture in three major African-American novels of the early twentieth century: James Weldon Johnson's The Autobiography of an Ex-Coloured Man, Zora Neale Hurston's Jonah's Gourd Vine, and Arna Bontemps's Black Thunder.Sundquist explains how the survival of cultural traditions originating in Africa and in slavery became a means of historical reflection and artistic creation for modern writers. He goes on to illustrate and compare how the three representative novels use aspects of African-American culture, including the folklore of slavery, black music from spirituals to jazz, black worship and sermonic form, and African-American resistance to slavery and segregation.The Hammers of Creation focuses on the unique narrative form of each of the three novels—Johnson's fictive autobiography, Hurston's ethnographic commentary combined with personal narrative, and Bontemps's historical fiction based on Gabriel's slave rebellion—to illustrate the range of fictional strategies black writers have employed. Through their attempts to gain cultural integrity, Sundquist explains, these writers were able to recover and preserve vital aspects of African-American history.Sundquist argues that by incorporating vernacular culture and the oral tradition into their works, Johnson, Hurston, and Bontemps challenge the primacy of written narrative while creating an African-American literary tradition that links the world of African ancestors and antebellum culture to the world of contemporary letters.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.

The chapters include:

an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe

an evaluation of the work of survivor-historians and memoir writers

new light on the Jewish historical commissions and the Jewish documentation centres

studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians

theatrical productions by survivors and the first films on the theme made in Hollywood

how the Holocaust had an impact on the everyday life of Jews in the USA

and a discussion of the different types, and meanings, of ‘silence’.

A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

For the last decade scholars have been questioning the idea that the Holocaust was not talked about in any way until well into the 1970s. After the Holocaust: Challenging the Myth of Silence is the first collection of authoritative, original scholarship to expose a serious misreading of the past on which, controversially, the claims for a ‘Holocaust industry’ rest. Taking an international approach this bold new book exposes the myth and opens the way for a sweeping reassessment of Jewish life in the postwar era, a life lived in the pervasive, shared awareness that Jews had narrowly survived a catastrophe that had engulfed humanity as a whole but claimed two-thirds of their number.

The chapters include:

an overview of the efforts by survivor historians and memoir writers to inform the world of the catastrophe that had befallen the Jews of Europe

an evaluation of the work of survivor-historians and memoir writers

new light on the Jewish historical commissions and the Jewish documentation centres

studies of David Boder, a Russian born psychologist who recorded searing interviews with survivors, and the work of philosophers, social thinkers and theologians

theatrical productions by survivors and the first films on the theme made in Hollywood

how the Holocaust had an impact on the everyday life of Jews in the USA

and a discussion of the different types, and meanings, of ‘silence’.

A breakthrough volume in the debate about the ‘Myth of Silence’, this is a must for all students of Holocaust and genocide.

Originally published in 1979. Eric Sundquist takes four representative writers—James Fenimore Cooper, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville—and considers the way in which each grapples with the crucial issues of genealogy and authority in his works. From all four a common pattern emerges: the desire to revolt against the past is countered by the need to invoke or even repeat it. Sundquist's approach to the texts is psychoanalytic, but he does not attempt a clinical dissection of each writer; rather, he determines how personal crisis became material for engaging with larger questions of social and literary crisis.

A comprehensive survey of the most important writing to come out of the Holocaust.Finalist for the 2019 National Jewish Book Award in the Anthologies and Collections Category presented by the Jewish Book CouncilSilver Winner for Anthologies, 2018 Foreword INDIES Book of the Year Awards Writing in Witness is a broad survey of the most important writing about the Holocaust produced by eyewitnesses at the time and soon after. Whether they intended to spark resistance and undermine Nazi authority, to comfort family and community, to beseech God, or to leave a memorial record for posterity, the writers reflect on the power and limitations of the written word in the face of events often thought to be beyond representation. The diaries, journals, letters, poems, and other works were created across a geography reaching from the Baltics to the Balkans, from the Atlantic coast to the heart of the Soviet Union, and in a wide array of original languages. Along with the readings, Eric J. Sundquist's introductions provide a comprehensive account of the Holocaust as a historical event. Including works by prominent authors such as Primo Levi and Elie Wiesel, as well those little known or anonymous, Writing in Witness provides, in vital and memorable examples, a wide-ranging account of the Holocaust by those who felt the imperative to give written testimony.