Bloomsbury Studies in Jewish Literature – serie

Gisella Perl’s memoir is the extraordinarily candid account of women’s extreme efforts to survive Auschwitz. With writing as powerful as that of Charlotte Delbo and Ruth Kluger, her story individualizes and therefore humanizes a victim of mass dehumanization. Perl accomplished this by representing her life before imprisonment, in Auschwitz and other camps, and in the struggle to remake her life. It is also the first memoir by a woman Holocaust survivor and establishes the model for understanding the gendered Nazi policies and practices targeting Jewish women as racially poisonous. Perl’s memoir is also significant for its inclusion of the Nazis’ Roma victims as well as in-depth representations of Nazi women guards and other personnel. Unlike many important Holocaust memoirs, Perl’s writing is both graphic in its horrific detail and eloquent in its emotional responses. One of the memoir’s major historical contributions is Perl’s account of being forced to work alongside Dr. Josef Mengele in his infamous so-called clinic and using her position to save the lives of other women prisoners. These efforts including infanticide and abortion, topics that would remain silenced for decades and, unfortunately, continue to be marginalized from all too many Holocaust accounts. After decades out of print, this new edition will ensure the crucial place of Perl’s testimony on Holocaust memory and education.

Since the end of World War II we have witnessed countless artistic responses to the Holocaust, yet we remain unable to adequately address the atrocities. While Theodor Adorno later rescinded his comments on the barbaric nature of writing poetry after Auschwitz, The Midrashic Impulse and the Contemporary Literary Response to Trauma begins with the possibility that he was right—that his admonition against poetry warns against employing representational modes that transgress the boundaries of the ethical when it comes to the Holocaust. There is a language, other than the language of representation, with which we might speak authentically about such atrocities. This study explores what it means for the world of literature to renounce the language of representation and retain the language of witness. Drawing on the work of Emmanuel Levinas, Maurice Blanchot, Geoffrey Hartman, and others the book focuses on the increasing tendency of contemporary writers to rely on non-representational approaches to storytelling in the context of trauma. This tendency is named the “midrashic impulse” given its similarity to ancient rabbinic approaches to the silences of the Hebrew bible through the creation of Midrash.

Communist Poland: A Jewish Woman’s Experience is the first-person account by Jewish journalist Sara Nomberg-Przytyk of surviving Auschwitz then rising to various leadership roles in the newly-formed postwar Polish Communist Party. Building a just and equitable Poland for the common Pole through communism was her dream. The reality was neither simple nor successful. Working for heavily censored newspapers and periodicals, Nomberg-Przytyk witnessed firsthand the inner workings of a communist government plagued by the same Kafkaesque bureaucracy and antisemitism that she had been certain it would fix. Her memoir provides a comprehensive account as she slowly changed from enthusiastic practitioner to witness of a system that failed her and many others. This is the first published edition of this text, originally recorded as oral testimony in Polish but translated into English by Paula Parsky, and includes a critical introduction by the co-editors, American and Polish academics Holli Levitsky and Justyna Wlodarczyk, as well as extensive annotations.

Gisella Perl’s memoir is the extraordinarily candid account of women’s extreme efforts to survive Auschwitz. With writing as powerful as that of Charlotte Delbo and Ruth Kluger, her story individualizes and therefore humanizes a victim of mass dehumanization. Perl accomplished this by representing her life before imprisonment, in Auschwitz and other camps, and in the struggle to remake her life. It is also the first memoir by a woman Holocaust survivor and establishes the model for understanding the gendered Nazi policies and practices targeting Jewish women as racially poisonous. Perl’s memoir is also significant for its inclusion of the Nazis’ Roma victims as well as in-depth representations of Nazi women guards and other personnel. Unlike many important Holocaust memoirs, Perl’s writing is both graphic in its horrific detail and eloquent in its emotional responses. One of the memoir’s major historical contributions is Perl’s account of being forced to work alongside Dr. Josef Mengele in his infamous so-called clinic and using her position to save the lives of other women prisoners. These efforts including infanticide and abortion, topics that would remain silenced for decades and, unfortunately, continue to be marginalized from all too many Holocaust accounts. After decades out of print, this new edition will ensure the crucial place of Perl’s testimony on Holocaust memory and education.

Keepers of Memory answers the question of how descendants of Holocaust survivors remember the Holocaust, the event that preceded their birth but has shaped their lives. Through personal stories and in-depth interviews, Rich examines the complicated relationship between history, truth, and memory. Keepers of Memory explores topics that include how stories of survival become stories of either empowerment or trauma for the descending generations, career choice as a form of commemoration, religion, and family life. Ultimately, this work paints a compelling picture of the promises and pitfalls of memory and points to implications for memory and commemoration in the coming generations.

Keepers of Memory answers the question of how descendants of Holocaust survivors remember the Holocaust, the event that preceded their birth but has shaped their lives. Through personal stories and in-depth interviews, Rich examines the complicated relationship between history, truth, and memory. Keepers of Memory explores topics that include how stories of survival become stories of either empowerment or trauma for the descending generations, career choice as a form of commemoration, religion, and family life. Ultimately, this work paints a compelling picture of the promises and pitfalls of memory and points to implications for memory and commemoration in the coming generations.

The Animal in the Synagogue explores Franz Kafka’s sense of being a Jew in the modern world and its literary and linguistic ramifications. It falls into two parts. The first is organized around the theme of Kafka’s complex and often self-derogatory understanding and assessment of his own Jewishness and of the place the modern Jew occupies in “the abyss of the world” (Martin Buber). That part is based on a close reading of Kafka’s correspondence with his Czech lover, Milena Jesenska, and on a meticulous analysis, thematic, stylistic, and structural, of Kafka’s only short story touching openly and directly upon Jewish social and ritual issues, and known as “In Our Synagogue” (the title—not by the author). In both the letters and the short story images of small animals—repulsive, dirty, or otherwise objectionable—are used by Kafka as means of exploring his own manhood and the Jewish tradition at large as he understood it.The second part of the book focuses on Kafka’s place within the complex of Jewish writing of his time in all its three linguistic forms: Hebrew writing (essentially Zionist), Yiddish writing (essentially nationalistic but not committed to Zionism), and the writing, like his, in non-Jewish languages (mainly German) and within the non-Jewish religious and artistic traditions which inhered in them. The essay deals in detail with Kafka’s responses to contemporary Jewish literatures, and his pessimistic evaluation of those literatures’ potential. Essentially, Kafka doubted the sheer possibility of a genuine and culturally tenable compromise (let alone synthesis) between Jewishness and modernity.The book deals with topics and some texts that the flourishing, ever expanding Kafka scholarship has either neglected or misunderstood because most scholars had no real background in either Hebrew or Yiddish studies, and were unable to grasp the nuances and subtle intentions in Kafka’s attitudes toward modern Hebrew and Yiddish literature and their paragons, such as the major Zionist Hebrew poet H.N. Bialik or the Yiddish master Sholem Aleichem.

The Animal in the Synagogue explores Franz Kafka’s sense of being a Jew in the modern world and its literary and linguistic ramifications. It falls into two parts. The first is organized around the theme of Kafka’s complex and often self-derogatory understanding and assessment of his own Jewishness and of the place the modern Jew occupies in “the abyss of the world” (Martin Buber). That part is based on a close reading of Kafka’s correspondence with his Czech lover, Milena Jesenska, and on a meticulous analysis, thematic, stylistic, and structural, of Kafka’s only short story touching openly and directly upon Jewish social and ritual issues, and known as “In Our Synagogue” (the title—not by the author). In both the letters and the short story images of small animals—repulsive, dirty, or otherwise objectionable—are used by Kafka as means of exploring his own manhood and the Jewish tradition at large as he understood it.The second part of the book focuses on Kafka’s place within the complex of Jewish writing of his time in all its three linguistic forms: Hebrew writing (essentially Zionist), Yiddish writing (essentially nationalistic but not committed to Zionism), and the writing, like his, in non-Jewish languages (mainly German) and within the non-Jewish religious and artistic traditions which inhered in them. The essay deals in detail with Kafka’s responses to contemporary Jewish literatures, and his pessimistic evaluation of those literatures’ potential. Essentially, Kafka doubted the sheer possibility of a genuine and culturally tenable compromise (let alone synthesis) between Jewishness and modernity.The book deals with topics and some texts that the flourishing, ever expanding Kafka scholarship has either neglected or misunderstood because most scholars had no real background in either Hebrew or Yiddish studies, and were unable to grasp the nuances and subtle intentions in Kafka’s attitudes toward modern Hebrew and Yiddish literature and their paragons, such as the major Zionist Hebrew poet H.N. Bialik or the Yiddish master Sholem Aleichem.

Reenvisioning Israel through Political Cartoons: Visual Discourses During the 2018–2021 Electoral Crisis examines the ways in which the work of Israeli political cartoonists broadens conversations about contemporary challenges in the country. Matt Reingold shows how 21 cartoonists across 10 different Israeli newspapers produced cartoons in response to the country’s social and political crises between December 2018–June 2021, a period where the country was mired in four national elections. Each chapter is structured around an issue that emerged during this period, with examples drawn from multiple cartoonists. This allows for fertile cross-cartoonist discussion and analysis, offering an opportunity to understand the different ways that an issue affects national discourse and what commentaries have been offered about it. By focusing on this difficult period in contemporary Israeli society, the volume highlights the ways that artists have responded to these national challenges and how they have fashioned creative reimaginings of their country.

Sacred Body: Readings in Jewish Literary Illumination provides fresh and insightful interpretations of Jewish texts, narratives, and cultural practices that show how these artifacts unhinge the “sacred” from the divine and focus instead on the “everyday sacred” of a dynamic earthly existence that emphasizes the body, celebrates life-affirming decisions, actions, and relationships, and avoids abstraction, metaphysics, and apocalypticism. Roberta Sabbath argues that a diverse array of Jewish artifacts, from sacred scripture to contemporary novels and ballet performance, articulate a tradition that has existed for millennia in mythic, proto-historic, legalistic, mystical, philosophical, and aesthetic expressions of Jewishness. The author refers to this tradition as Jewish literary illumination, and she deftly demonstrates how it illuminates the most salient message of Judaism: that earthly existence and the body are also the site of the spiritual and the sacred.

Pragmatic-Psychoanalytic Interpretations of Amos Oz’s Writings: Words Significantly Uttered presents intermediate links between three intellectual domains: the literary works of Amos Oz, American Pragmatism, and object-relations psychoanalysis. The interdisciplinary method employed here involves a presentation of Oz’s writings as the starting point for an existential debate that addresses a mental-conceptual struggle. This conceptual conflict, which has been given aesthetic shape in the literary work, inspires the presentation of central pragmatic and psychoanalytic concepts which contribute to a new and richer understanding of the conceptual tension or existential challenge. The chapters interpret Oz’s works not only as literary masterpieces but as existential-philosophical expressions. Dorit Lemberger’s argues that Oz reconceptualizes psychological, personal, familial, and often national, processes in a way that allows readers to understand such processes in general life from a retrospective perspective.

Emerging Trends in Third-Generation Holocaust Literature offers fresh approaches to understanding how grandchildren of Holocaust survivors and perpetrators treat their traumatic legacies. The contributors to this volume present a two-fold perspective: that the past continues to live in the lives of the third generation and that artistic responses to trauma assume a variety of genres, including film, graphic novels, and literature. This generation is acculturated yet set apart from their peers by virtue of their traumatic inheritance. The chapters raise several key questions: How is it possible to negotiate the difference between what Daniel Mendelson terms proximity and distance? How can the post-post-memorial generation both be faithful to Holocaust memory and embrace a message of hope? Can this generation play a constructive educational role? And, finally, why should society care? At a time when the lessons and legacies of Auschwitz are either banalized or under assault, the authors in this volume have a message which ideally should serve to morally center those who live after the event.

This volume engages with memory of the Holocaust as expressed in literature, film, and other media. It focuses on the cultural memory of the second and third generations of Holocaust survivors, while also taking into view those who were children during the Nazi period. Language loss, language acquisition, and the multiple needs of translation are recurrent themes for all of the authors discussed. By bringing together authors and scholars (often both) from different generations, countries, and languages, and focusing on transgenerational and translational issues, this book presents multiple perspectives on the subject of Holocaust memory, its impact, and its ongoing worldwide communication.

“Literature of the Holocaust” courses, whether taught in high schools or at universities, necessarily cover texts from a broad range of international contexts. Instructors are required, regardless of their own disciplinary training, to become comparatists and discuss all works with equal expertise. This books offers analyses of the ways in which representations of the Holocaust—whether in text, film, or material culture—are shaped by national context, providing a valuable pedagogical source in terms of both content and methodology. As memory yields to post-memory, nation of origin plays a larger role in each re-telling, and the chapters in this book explore this notion covering well-known texts like Night (Hungary), Survival in Auschwitz (Italy), MAUS (United States), This Way to the Gas (Poland), and The Reader (Germany), while also introducing lesser-known representations from countries like Argentina or Australia.

“Literature of the Holocaust” courses, whether taught in high schools or at universities, necessarily cover texts from a broad range of international contexts. Instructors are required, regardless of their own disciplinary training, to become comparatists and discuss all works with equal expertise. This books offers analyses of the ways in which representations of the Holocaust—whether in text, film, or material culture—are shaped by national context, providing a valuable pedagogical source in terms of both content and methodology. As memory yields to post-memory, nation of origin plays a larger role in each re-telling, and the chapters in this book explore this notion covering well-known texts like Night (Hungary), Survival in Auschwitz (Italy), MAUS (United States), This Way to the Gas (Poland), and The Reader (Germany), while also introducing lesser-known representations from countries like Argentina or Australia.

May God Avenge Their Blood: a Holocaust Memoir Triptych presents three memoirs by the Yiddish writer Rachmil Bryks (1912–1974). In "Those Who Didn't Survive," Bryks portrays inter-war life in his shtetl Skarzysko-Kamienna, Poland with great flair and rich anthropological detail, rendering a haunting collective portrait of an annihilated community. "The Fugitives" vividly charts the confusion and terror of the early days of World War II in the industrial city of Lódz and elsewhere. In the final memoir, "From Agony to Life," Bryks tells of his imprisonment in Auschwitz and other camps. Taken together, the triptych takes the reader on a wide-ranging journey from Hasidic life before the Holocaust to the chaos of the early days of war and then to the horrors of Nazi captivity. This translation by Yermiyahu Ahron Taub brings the extraordinary memoirs of an important Yiddish writer to English-language readers for the first time.

This volume of eight essays written by French scholars analyzes Daniel Mendelsohn's first three volumes of nonfiction (The Elusive Embrace, 1999; The Lost, 2006; and An Odyssey, 2017) and includes an illustrated interview (2019) in which Mendelsohn tackles various aspects of his work as a literary and cultural critic, as a professor of classical literature, as a translator, and as a memoirist. The essay discussing The Elusive Embrace (1999) argues that, in addition to offering a subtle reflection on sexual identity and genres, Mendelsohn’s first volume already broadens his topic and patiently weaves links between ancient and present times, feeding his meditation with his knowledge of Greek culture and myths—a natural movement of back and forth which would become his signature. The Lost (2006), his much-acclaimed investigation on six members of his family who died during the period known as the Holocaust by bullets, is analyzed as a close-up on the disappearance of a whole world, the unspeakability of which Mendelsohn addressed through intertwining several languages, linguistic echoes, and biblical references. Finally, Mendelsohn’s recent An Odyssey (2017) is studied as a brilliant musing on teaching Homer’s masterpiece while building up a memoir on his declining father sitting among his students and allowing Homer’s universal questions and lessons to enlighten a father and son’s last journey.

The Stolen Narrative of the Bulgarian Jews and the Holocaust collects narratives of Bulgarian Jews who survived the Holocaust. Through the analysis of eye-witness testimonies, archival documents, photographs, and researchers’ investigations, the authors weave a complex tapestry of voices that were previously underrepresented, ignored, and denied. Taken together, the collected memories offer an alternative perspective that counters official accounts and corroborates war crimes.

The Stolen Narrative of the Bulgarian Jews and the Holocaust collects narratives of Bulgarian Jews who survived the Holocaust. Through the analysis of eye-witness testimonies, archival documents, photographs, and researchers’ investigations, the authors weave a complex tapestry of voices that were previously underrepresented, ignored, and denied. Taken together, the collected memories offer an alternative perspective that counters official accounts and corroborates war crimes.