Showing posts with label holocaust. Show all posts
Showing posts with label holocaust. Show all posts

The Lands Between: Conflict in the East European Borderlands, 1870-1992 (Zones of Violence) Review

The Lands Between: Conflict in the East European Borderlands, 1870-1992 (Zones of Violence)
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The Lands Between: Conflict in the East European Borderlands, 1870-1992 (Zones of Violence) ReviewBloodlands is getting all the attention, and it is definitely more smoothly written, but Prusin's little book is the more admirable. For one thing, it is a history of peoples and nations, not merely of atrocities, and the result is that the atrocities are put into a context that is not just "one dam' thing after another," - and so the dam' things become much clearer. For one thing, Prusin's narrative begins in earnest with the aftermath of WWI, where the structural troubles between the peoples he deals with began, when Ukrainians, Poles, Baltic and Russian Germans, Lithuanians and the other Baltic nationalities, Byelorussians, Ruthenians, etc., were sorted into completely different political structures by the vagaries of Versailles. It ends with the break-up of the USSR in the early 90s, with a real end.
It's also an unfamiliar story, with which Prusin is obviously deeply familiar, and his sources are much more dense - it's bottom-up history, not top-down as with Timothy Snyder's.
I am no expert in this field, but I am indignant that this wonderful little book, whose verbs often take hilarious prepositions, by a deeply learned associate professor at the New Mexico Institute of Mining and Technology, is getting so little attention, when Yale prof. Timothy Ryan is making front-ish page news with his much more pompous and de haut en bas tome.
Read Prusin first, is my advice.
The Lands Between: Conflict in the East European Borderlands, 1870-1992 (Zones of Violence) OverviewThe Lands Between investigates the causes and dynamics of conflict in the "borderlands" of Eastern Europe: the modern Baltic republics of Estonia, Latvia, and Lithuania, the western provinces of Byelorussia and Ukraine, and the republic of Moldova -- areas that have changed hands in the course of the twentieth-century on several occasions. Alexander V. Prusin looks at these "borderlands" as a whole, synthesizing narrower national histories into a wider-ranging study that highlights the common factors feeding conflict across the region. He also takes a long-term view, from the modernizing of the Russian and Austro-Hungarian empires in the late nineteenth century, through to the break-up of the Soviet Union, with a particular focus on the 'era of conflict' between the outbreak of the First World War and the Soviet pacification of the area in the mid-1950s.While admitting the importance of socio-economic cleavages and ethnic rivalries in creating conflict, Prusin argues that the borderlands' ethno-cultural diversity was in basic conflict with the policies of the authorities that dominated the region, whether these authorities were imperial or (after 1919) nation states. Since collective identities in the borderlands were based on ethno-communal rather than national association, connections between ethnic groups across state borders raised suspicions that their allegiances and identities were not necessarily compatible with those envisioned by the ruling authority. In wartime, when the state's economic and human resources became strained to the limit, suspicion of the groups deemed less loyal blurred the concept of internal and external enemies and entailed pressure on allegedly "corrosive" ethnic elements. Efforts to impose some sort of supranational identity upon the patchwork of ethnically-mixed settlements thus became the standard practice through the first half of the twentieth-century, accelerating the conflict between the state and the population and making the potential for extreme violence so much greater. Simultaneously, as war progressed, violence was sustained and exacerbated by popular participation and acquired its own destructive logic, mutating into a vicious cycle of ethnic conflicts and civil wars.

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A Thousand Darknesses: Lies and Truth in Holocaust Fiction Review

A Thousand Darknesses: Lies and Truth in Holocaust Fiction
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A Thousand Darknesses: Lies and Truth in Holocaust Fiction ReviewThis jewel of a book addresses difficult questions concerning the representation and narration of the Holocaust and also the use of that dark episode of history as material for creative writing.
My apprehensions about it, having read only one of the books the author considers, were soon put to rest. The author provided enough relevant detail to give me a sense of those books and steer me through her argument. If anything, I'm now looking forward to reading some of them.
The writing is clear, elegant and direct. The book is evidently based on extensive research and draws on a number of authors and texts, many predating the Holocaust, Oscar Wilde, for instance. The tone of the book is lively and engaging and I think it was this that kept the grimness of the subject from overwhelming my reading experience.
Quite possibly the only uncontroversial thing one can say on the subject of the representation and literary treatment of the Holocaust is that it's fraught with controversy. I hope it's not too controversial to suggest that books such as these might have a wider relevance than only to issues arising out of the literary treatment of the Holocaust. The author's discussion and argument must have some use in thinking about how we reflect on major historical events generally, not just artistically and not just the Holocaust.
A Thousand Darknesses: Lies and Truth in Holocaust Fiction OverviewWhat is the difference between writing a novel about the Holocaust and fabricating a memoir? Do narratives about the Holocaust have a special obligation to be 'truthful'--that is, faithful to the facts of history?Or is it okay to lie in such works? In her provocative study A Thousand Darknesses, Ruth Franklin investigates these questions as they arise in the most significant works of Holocaust fiction, from Tadeusz Borowski's Auschwitz stories to Jonathan Safran Foer's postmodernist family history. Franklin argues that the memory-obsessed culture of the last few decades has led us to mistakenly focus on testimony as the only valid form of Holocaust writing. As even the most canonical texts have come under scrutiny for their fidelity to the facts, we have lost sight of the essential role that imagination plays in the creation of any literary work, including the memoir. Taking a fresh look at memoirs by Elie Wiesel and Primo Levi, and examining novels by writers such as Piotr Rawicz, Jerzy Kosinski, W.G. Sebald, and Wolfgang Koeppen, Franklin makes a persuasive case for literature as an equally vital vehicle for understanding the Holocaust (and for memoir as an equally ambiguous form). The result is a study of immense depth and range that offers a lucid view of an often cloudy field.

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One Hundred Names for Love: A Stroke, a Marriage, and the Language of Healing Review

One Hundred Names for Love: A Stroke, a Marriage, and the Language of Healing
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One Hundred Names for Love: A Stroke, a Marriage, and the Language of Healing ReviewOne Hundred Names for Love is Diane Ackerman's brilliant and inspirational memoir of how she and her husband, the writer Paul West, coped with the stroke that left him - at age 75 - unable to walk, speak, or care for himself in any of the most basic ways. Devastating though it was, the crisis actually couldn't have happened to a better couple - two creative individuals for whom language is nearly as essential as breathing. In addition to the standard treatment protocols, through much experimentation and faith in the brain's plasticity, Ackerman and West developed their own rehabilitation regimen as innovative and playful as it was exhausting.
Four years into West's recovery, Ackerman invites a doctor unfamiliar with the case to comment on her husband's most recent brain scan.
[The doctor] pointed out the damage from the past stroke, in the temporal and parietal lobes, a large dead patch in the frontal lobe, and missing bits elsewhere.
"I'd assume this man has been in a vegetative state," he said with a soft humanity.
On the contrary, Ackerman assures him. By "working the brain hard every day for four and a half years," her husband has not only regained his speech and mobility, but also has written several new books and published a variety of essays.
The doctor shakes his head. "I'm so glad you told me this about him," he said thoughtfully. "It's important to know what's possible."
Certainly possible for two immensely creative and determined human beings who have had the knowledge, will, means, and mutual devotion to take the healing process to its fullest potential. Creative medicine indeed. For which Ackerman and West deserve nothing but the highest regard. But despite all the advances in standard treatment for traumatic brain injury, I can't help but worry about the respective outcomes of the many thousands of brain-injured combat veterans returning to our shores with fewer long-term resources for recovery at their disposal.
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