Voicing the Void: Muteness and Memory in Holocaust Fiction

By Sara R. Horowitz | Go to book overview
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Notes

1. INTRODUCTION
1.
Quo. in Claudia Dreifus, "Art Spiegelman," The Progressive 53 ( 1989), 34.
2.
"Art Spiegelman: The Road to Maus," exhibit, Museum of Art, Fort Lauderdale, February-April 1993. The museum brochure distributed at the exhibit explicitly echoes Spiegelman's insistence that the Maus sequence is not "in any sense a fictionalized account, despite the artistic liberties taken with both text and illustrations. . . ."
3.
For a discussion of the role of the listener in Holocaust survivor testimony, see Dori Laub, "Bearing Witness, or the Vicissitudes of Listening," Testimony, pp. 57-74.
4.
While accepting Lanzmann assertion that the "truth kills the possibility of fiction," in her discussion of Shoah Shoshana Felman explains that "the truth does not kill the possibility of art" (206).
5.
According to Lanzmann, "The length of the film is the length of the pensáe, of the thinking" (quo. in Gussow C15).
6.
"Resurrecting Horror: The Man behind Shoah," Interview with Deborah Jerome The Record 25 October 1985.
7.
David Hirsch ably articulates the dangerous potential of certain trends in postmodernism in The Deconstruction of Literature: Criticism after Auschwitz. See also Friedlander Probing the Limits of Representation.
8.
It is interesting to note that Thomas Keneally similarly protested the categorization of his novel, Schindler's List, as fiction. Simon & Schuster categorizes Keneally's book as fiction, describing it as "a factual account done with fictional techniques" or a "non-fiction novel," according to Sarah Lyall, "Book Notes," New York Times 9 March 1994; thus the novel remained on the Times fiction list.

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