Vera Schwarcz – författare

"Over the five years that we talked [octogenarian Zhang Shenfu] became the underbelly of China's history for me. . . . Zhang was like a broken mirror through which I glimpsed the fragmented reality of China in revolution."—Vera Schwarcz Zhang Shenfu, a founder of the Chinese Communist party, participated in all the major political events in China for four decades following the Revolution of 1919. Yet Zhang had become a forgotten figure in China and the West—a victim of Mao's determined efforts to place himself at the center of China's revolution—until Vera Schwarcz began to meet with him in his home on Wang Fu Cang Lane in Beijing. Now Schwarcz brings Zhang to life through her poignant account of five years of conversations with him, a narrative that is interwoven with translations of his writings and testimony of his friends.  Moving circuitously, Schwarcz reveals fragments of the often contradictory layers of Zhang's character: at once a champion of feminism and an ardent womanizer, a follower of the Bertrand Russell who also admired Confucius, and a philosophically inclined political pragmatist. Schwarcz also meditates on the tension between historical events and personal memory, on the public amnesia enforced by governments and the "forgetfulness" of those who find remembrance too painful. Her book is not only a portrait of a remarkable personality but a corrective to received accounts and to the silences that abound in the official annals of the Chinese revolution.

In this remarkable book, Vera Schwarcz explores the meanings of cultural memory within the two longest surviving civilizations on earth. The author of previous books that the New York Times Book Review called "moving" and Jonathan Spence termed "subtle, elegiac, and elegant," Schwarcz finds a bridge between the vastly different Chinese and Jewish traditions in the fierce commitment to historical memory they share. For both, a chain of remembrance has allowed tradition to endure uninterrupted from ancient times to the present; for both, the transmission of remembrance and the bearing of active witness to the significance of the past are high moral values. From her unique standpoint as China scholar and daughter of survivors of the Holocaust, Schwarcz uncovers resonances between the narratives of Chinese intellectuals recovering from the trauma of the Cultural Revolution and the halting tales of her own parents.Focusing on the transmission of cultural memory in these two cultures, the author examines how metaphor becomes an aid to memory, the role of personal remembrance in public commemorations, and the process of healing historical wounds. Combining poetry and historiography, oral interviews and archival documents, this book brings to life the struggles of Chinese and Jewish survivors who managed to cultivate memory through inimical times and preserve the continuity of their long traditions.

It is widely accepted, both inside China and in the West, that contemporary Chinese history begins with the May Fourth Movement. Vera Schwarcz's imaginative new study provides China scholars and historians with an analysis of what makes that event a turning point in the intellectual, spiritual, cultural and political life of twentieth-century China.

The Singing Crane Garden in northwest Beijing has a history dense with classical artistic vision, educational experimentation, political struggle, and tragic suffering. Built by the Manchu prince Mianyu in the mid-nineteenth century, the garden was intended to serve as a refuge from the clutter of daily life near the Forbidden City. In 1860, during the Anglo-French war in China, the garden was destroyed. One hundred years later, in the 1960s, the garden served as the "ox pens," where dissident university professors were imprisoned during the Cultural Revolution. Peaceful Western involvement began in 1986, when ground was broken for the Arthur Sackler Museum of Art and Archaeology. Completed in 1993, the museum and the Jillian Sackler Sculpture Garden stand on the same grounds today.In Place and Memory in the Singing Crane Garden, Vera Schwarcz gives voice to this richly layered corner of China's cultural landscape. Drawing upon a range of sources from poetry to painting, Schwarcz retells the garden's complex history in her own poetic and personal voice. In her exploration of cultural survival, trauma, memory, and place, she reveals how the garden becomes a vehicle for reflection about history and language.Encyclopedic in conception and artistic in execution, Place and Memory in the Singing Crane Garden is a powerful work that shows how memory and ruins can revive the spirit of individuals and cultures alike.

In Colors of Veracity, Vera Schwarcz condenses four decades of teaching and scholarship about China to raise fundamental questions about the nature of truth and history. In clear and vivid prose, she addresses contemporary moral dilemmas with a highly personal sense of ethics and aesthetics.Drawing on classical sources in Hebrew and Chinese (as well as several Greek and Japanese texts), Schwarcz brings deep and varied cultural references to bear on the question of truth and falsehood in human consciousness. An attentiveness to connotations and nuance is apparent throughout her work, which redefines both the Jewish understanding of emet (a notion of truth that encompasses authenticity) and the Chinese commitment to zhen (a vision of the real that comprises the innermost sincerity of the seeker’s heart-mind). Works of art, from contemporary calligraphy and installations to fake Chinese characters and a Jewish menorah from Roman times, shed light light on the historian’s task of giving voice to the dread-filled past. Following in the footsteps of literary scholar Geoffrey Hartman, Schwarcz expands on the “Philomela Project, which calls on historians to find new ways of conveying truth, especially when political authorities are bent on enforcing amnesia of past traumatic events.Truth matters, even if it cannot be mapped in its totality. Veracity is shown again and again to be neither black nor white. Schwarcz’ accomplishment is a subtle depiction of “fractured luminosity,” which inspires and sustains the moral conviction of those who pursue truth against all odds.

In Colors of Veracity, Vera Schwarcz condenses four decades of teaching and scholarship about China to raise fundamental questions about the nature of truth and history. In clear and vivid prose, she addresses contemporary moral dilemmas with a highly personal sense of ethics and aesthetics.Drawing on classical sources in Hebrew and Chinese (as well as several Greek and Japanese texts), Schwarcz brings deep and varied cultural references to bear on the question of truth and falsehood in human consciousness. An attentiveness to connotations and nuance is apparent throughout her work, which redefines both the Jewish understanding of emet (a notion of truth that encompasses authenticity) and the Chinese commitment to zhen (a vision of the real that comprises the innermost sincerity of the seeker’s heart-mind). Works of art, from contemporary calligraphy and installations to fake Chinese characters and a Jewish menorah from Roman times, shed light light on the historian’s task of giving voice to the dread-filled past. Following in the footsteps of literary scholar Geoffrey Hartman, Schwarcz expands on the “Philomela Project, which calls on historians to find new ways of conveying truth, especially when political authorities are bent on enforcing amnesia of past traumatic events.Truth matters, even if it cannot be mapped in its totality. Veracity is shown again and again to be neither black nor white. Schwarcz’ accomplishment is a subtle depiction of “fractured luminosity,” which inspires and sustains the moral conviction of those who pursue truth against all odds.

Focusing upon the life of Chaya Walkin – one little girl from a distinguished Torah lineage in Poland – this book illustrates the inner resources of the refugee community that made possible survival with dignity. Based on a wide variety of sources and languages, this book is crafted around the voice of a child who was five years old when she was forced to flee her home in Poland and start the terrifying journey to Vilna, Kobe, and Shanghai. The Song of Songs is used to provide an unexpected and poetic angle of vision upon strategies for creating meaning in times of historical trauma.