American Women Writers and the Nazis: Ethics and Politics in Boyle,Porter,Stafford, and Hellman Review

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American Women Writers and the Nazis: Ethics and Politics in Boyle,Porter,Stafford, and Hellman ReviewIt's not just that Thomas Austenfeld expands our understanding of American literature by grouping together for the very first time four remarkable women writers. Nor is it simply that in discussing the respective experiences of Katherine Anne Porter, Kay Boyle, Jean Stafford, and Lillian Hellman in Nazi Germany he creates a more comprehensive picture of the American expatriate experience. Ultimately what makes this intelligent and sprightly volume so enjoyable and worthwhile is the way in which Austenfeld writes a completely new chapter of American literary history in a manner that is informed, judicious, wise, and imminently readable.American Women Writers and the Nazis: Ethics and Politics in Boyle,Porter,Stafford, and Hellman OverviewAs expatriates in Germany and Austria in the 1930s, Kay Boyle,Katherine Anne Porter, Jean Stafford, and Lillian Hellman saw the rise of Naziideology firsthand. And while all four clearly realized -- as their workdemonstrates -- that ethical behavior is the personal corollary of politicalconviction, scholars of these important American writers have long neglected thesignificance of the mingling of writing, ethics, and politics in theirwork.In American Women Writers Thomas Austenfeldrestores ethics and politics to the central places they held in the lives and workof these four women. By documenting the political and ethical apprenticeships eachwoman served in Germany and Austria, Austenfeld convincingly argues that the geniusof these writers exists precisely in their ability to continue the development oftheir best creative sensibilities -- in spite of and indeed because of the ethicalchallenges they faced as women writers in the tense prewarworld. KayBoyle's analysis of the language and cultural expression of occupation, LillianHellman's exposure of diplomatic language as furthering war, Katherine Anne Porter'simplicit critique of Weimar Germany's class consciousness, and Jean Stafford'ssearching meditations on guilt and responsibility all argue afresh for the pragmaticgoals that fiction and drama can serve in a politically unstableworld.

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