The Holocaust Novel

Sicher, Efraim

doi:10.4324/9780203957738

Cited by 5 publications

(6 citation statements)

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“…Furthermore, the socio‐cultural meanings of these conflictive memories emanate from the relationships with place depicted. The problematic Jewish bonds with the land (Sicher, 2005) are revisited in Appignanesi's and Grant's novels. In The Memory Man , the process of reconciliation is achieved through the protagonist's re‐attachment to the motherland.…”

Section: Transgenerational and Diasporic (Dis)connectionsmentioning

confidence: 99%

“…Following Efraim Sicher's argumentation, the second generation “bears the scar without the wound” (1998, p. 27) and, thus, needs to impose some meaning on that inherited “burden” (p. 35). Critics including Hirsch (2008), Meera Atkinson (2017), Sicher (1998, 2005) and Van Alphen (2006) have explained that the second generation often act as the recipients of their ancestors' traumatic and diasporic memories and of the collective memory of the Holocaust. Thus, even though they long to establish a strong connection with their predecessors, they tend to feel alienated from their relatives.…”

Section: Transgenerational and Diasporic (Dis)connectionsmentioning

confidence: 99%

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Female re‐writings of the Jewish diaspora: Metamemory novels and contemporary British‐Jewish women writers

Pellicer‐Ortín

2022

Literature Compass

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In keeping with the interdisciplinary dialogue featuring the fields of Diaspora and Memory Studies, some current fictions seem to have absorbed, reproduced and deconstructed those contemporary discourses that reflect on the complex relation between the individual and collective construction of memory in the diaspora. It is in this context that British-Jewish women authors deserve special attention since they have struggled with numerous memory tensions together with the multifarious identity factors of being Jews, immigrants (or their descendants) and women, adding their multifaceted perspectives on affiliation and belonging to the complexity that defines Jewish identity and culture. This article starts from the neurobiological notion of ʻmetamemoryʼ and the idea that its study leads to understand better both memory and diasporic phenomena. Some contemporary fictional creations by British-Jewish women writers exemplify what could be defined as ʻthe metamemory novelʼ.In particular, I focus on the fictional works of some pertinent second-and third-generation British-Jewish female authors-Lisa Appignanesi's The Memory Man (2004), Linda Grant's The Clothes on their Backs (2008), and Zina Rohan'sThe Small Book (2010). Following Birgit Neumann's notion of 'fictions of metamemory ' (2008a, b), I detail the key narrative

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Section: Transgenerational and Diasporic (Dis)connectionsmentioning

confidence: 99%

Section: Transgenerational and Diasporic (Dis)connectionsmentioning

confidence: 99%

Female re‐writings of the Jewish diaspora: Metamemory novels and contemporary British‐Jewish women writers

Pellicer‐Ortín

2022

Literature Compass

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“…7 The same holds true for Russian literature. Russian readers would be hard-pressed to name a survivor testimony written in Russian, gaining only a belated access to "Holocaust novels," to use Efraim Sicher's term (Sicher 2005, ix-xxiii) 8 via the works of Vasilii Grosmann, Anatolii Kuznetsov, Masha Rol'nikaite, and Anatolii Rybakov. This situation did not change significantly after the collapse of the Soviet Union.…”

Section: Bibliographymentioning

confidence: 99%

The Afterlife of the Shoah in Central and Eastern European Cultures

Artwińska¹,

Tippner²

2021

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Routledge is an imprint of the Taylor & Francis Group, an informa business © 2022 selection and editorial matter, Anna Artwińska and Anja Tippner; individual chapters, the contributors The right of Anna Artwińska and Anja Tippner to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

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“…In turn, such critical unease in the face of Holocaust fiction further enhances the post-Holocaust authors' anxiety. For a more detailed discussion both of the challenges facing and of the forms taken by Holocaust fiction, see e.g., (Horowitz 1997;Vice 2000;Eaglestone 2004;Sicher 2005;Gwyer 2014). non-memories, such (re)constructive work is in fact tightly circumscribed by being pressed into the service of an imagined 'return journey' to, and attempted 'rescue of memory' from, someone else's narrative, suggesting that Kershaw's 'fear of excessive invention' diagnosis may still apply even here (Sicher 2000, p. 70;Kershaw 2014, p. 195).…”

Section: Original Emphasis)mentioning

confidence: 99%

‘You think your writing belongs to you?’: Intertextuality in Contemporary Jewish Post-Holocaust Literature

Gwyer¹

2018

Humanities

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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.

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The Holocaust Novel

Cited by 5 publications

References 0 publications

Female re‐writings of the Jewish diaspora: Metamemory novels and contemporary British‐Jewish women writers

Female re‐writings of the Jewish diaspora: Metamemory novels and contemporary British‐Jewish women writers

The Afterlife of the Shoah in Central and Eastern European Cultures

‘You think your writing belongs to you?’: Intertextuality in Contemporary Jewish Post-Holocaust Literature

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