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Keywords = Safran Foer

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12 pages, 235 KB  
Article
‘Humorous Is the Only Truthful Way to Tell a Sad Story’: Jonathan Safran Foer and Third Generation Holocaust Representation
by Sarah Coakley
Genealogy 2019, 3(4), 55; https://doi.org/10.3390/genealogy3040055 - 30 Oct 2019
Cited by 2 | Viewed by 6613
Abstract
Jonathan Safran Foer’s representation of the Holocaust in his first novel, Everything is Illuminated, has been the subject of much controversy and critical debate. Several critics and Holocaust survivors have objected to the work for the lack of historical accuracy in its [...] Read more.
Jonathan Safran Foer’s representation of the Holocaust in his first novel, Everything is Illuminated, has been the subject of much controversy and critical debate. Several critics and Holocaust survivors have objected to the work for the lack of historical accuracy in its mythological narrative and the irreverence of its humour. However, such responses fail to take into account its specific form of generational representation: The Holocaust of Everything is Illuminated is always perceived through a third-generation lens, and its provocative elements instead highlight aspects of the experiences of the grandchildren of survivors. With this in mind, this paper examines Foer’s approach to the Holocaust in Everything is Illuminated and Liev Schreiber’s film adaptation (2005), making specific reference to the challenges faced by the third generation. Drawing upon theories of the transgenerational transmission of trauma and postmemory, it will explore the roles of creativity and humour in resilience, in addition to the reconstruction of a historical narrative under threat of erasure. Ultimately, by offsetting the tendencies to reduce the complexity of the Holocaust into unequivocal moralities (as exhibited in the film adaptation) with the idiosyncrasies of the third-generation experience, an alternative contextual perspective on the Holocaust is propounded, containing its own discrete set of ethical questions and concerns. Full article
(This article belongs to the Special Issue Genealogy The Holocaust in Contemporary Popular Culture)
18 pages, 226 KB  
Article
‘You think your writing belongs to you?’: Intertextuality in Contemporary Jewish Post-Holocaust Literature
by Kirstin Gwyer
Humanities 2018, 7(1), 20; https://doi.org/10.3390/h7010020 - 1 Mar 2018
Cited by 2 | Viewed by 6119
Abstract
This article examines a sub-category of recent Jewish post-Holocaust fiction that engages with the absent memory of the persecution its authors did not personally witness through the medium of intertextuality, but with intertextual recourse not to testimonial writing but to literature only unwittingly [...] Read more.
This article examines a sub-category of recent Jewish post-Holocaust fiction that engages with the absent memory of the persecution its authors did not personally witness through the medium of intertextuality, but with intertextual recourse not to testimonial writing but to literature only unwittingly or retrospectively shadowed by the Holocaust. It will be proposed that this practice of intertextuality constitutes a response to the post-Holocaust Jewish author’s ‘anxiety of influence’ that, in the wake of the first generation’s experience of atrocity, their own life story and literature will always appear derivative. With reference to works by four such post-Holocaust authors, Jonathan Safran Foer’s Tree of Codes (2010), Maxim Biller’s Im Kopf von Bruno Schulz (2013), Helen Maryles Shankman’s In the Land of Armadillos (2016), and Nicole Krauss’s The History of Love (2005) and Forest Dark (2017), all of which engage intertextually with Franz Kafka and Bruno Schulz, it will be suggested that these authors are looking to return to a Kristevan practice of intertextuality after the predominantly citational recourse to antecedent material that has often characterized post-Holocaust literature. In the process, they also succeed in troubling recently popular conceptualizations of ‘postmemory’ literature as the ‘belated’ and ‘evacuated’ recipient of encrypted traumatic content inherited from the first generation that it must now seek either to preserve or to work through vicariously. Full article
(This article belongs to the Special Issue The Holocaust in Literature and Film)
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