Notes

Introduction

1
Rolf Hochhuth, The Deputy (New York: Grove Press, 1964) (and see Eric Bentley, ed., The Storm Over the Deputy: Essays and Articles about Hochhuth's Explosive Drama, New York: Grove Press, 1964). Peter Weiss, The Investigation, trans. Jan Swan and Ulu Grosbard (Chicago: Dramatic Publishing Co., 1966). Gerald Green, The Holocaust (London: Corgi, 1978). Jim Allen, Perdition: A Play in Two Acts (London and Atlantic Highlands: Ithaca Press, 1987). Binjamin Wilkomirski, Fragments: Memories of a Childhood, 1939-1948, trans. Carol Brown Janeway (London: Picador, 1996). On issues of Holocaust representation and the problems of authenticity see, for instance, JeanFrançois Lyotard's Heidegger and 'the jews' (Minneapolis: University of Minnesota Press, 1990); Dominick LaCapra, Representing the Holocaust: History, Theory, Trauma (Ithaca and London: Cornell University Press, 1994), and his History and Memory after Auschwitz (Ithaca and London: Cornell University Press, 1998); Philippe Lacoue-Labarthe, Heidegger, Art and Politics (Cambridge: Polity Press, 1991); and Ann Parry's application of these ideas to popular fiction, 'Idioms for the Unrepresentable: Post-war Fiction and the Shoah', Journal of European Studies 27 (4), 108, 1997, pp. 417-32.
2
There are obviously exceptions to this rule, in particular Louis Begley's survivor novel Wartime Lies (London: Picador, 1991) and writings by second-generation survivors, for instance Helen Epstein, Where She Came From (New York: Plume [Penguin], 1998); and Elizabeth Ehrlich, Miriam's Kitchen (New York: Penguin, 1998).
3
In a review of Roberto Benigni's 1998 film Life is Beautiful, the critic David Denby observed that 'the enormous worldwide success of the film suggests that the audience is exhausted by the Holocaust, that it is sick to death of the subject's unending ability to disturb' ('In the Eye of the Beholder: Another Look at Roberto Benigni's Holocaust Fantasy', New Yorker, 15 March 1999, p. 99).
4
Michael André Bernstein, Foregone Conclusions: Against Apocalyptic History (Berkeley and London: University of California Press, 1994), p. 23.
5
See Richard Menkes, 'Narrative Reversals and the Thermodynamics of History', Modern Fiction Studies 44 (4), 1998, pp. 959-80. Thanks to Sue Owen for discussing this with me.
6
Martin Amis, in Martin Amis, Bryan Cheyette, Lucy Ellmann, Joseph Skibell, 'Writing the Unwritable: A Debate on Holocaust Fiction', Jewish Quarterly 170 (Summer 1998), pp. 12-15: p. 12; William Styron, 'The Message of Auschwitz', in A.D. Casciato and J.L.W. West III (eds), Critical Essays on William Styron (Boston: G.K. Hall, 1982), p. 285. Emily Budick Miller contrasts the differing receptions of William Styron's Sophie's Choice and its 'Judaic' version, Cynthia Ozick's The Shawl

-168-

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Holocaust Fiction
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Acknowledgements vii
  • Introduction 1
  • Chapter 1 - Formal Matters 11
  • Chapter 2 - Documentary Fiction 38
  • Chapter 3 - Autobiographical Fiction 67
  • Chapter 4 - Faction 90
  • Chapter 5 - Melodrama 117
  • Chapter 6 - Historical Polemic 141
  • Conclusion 161
  • Notes 168
  • Bibliography 229
  • Index 233
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