By Norma Rosen
For Norma Rosen, the Holocaust is the important occasion of the 20 th century. during this booklet, she examines the connection of post-Holocaust writers to their paintings by way of topic, language, imagery, and dealing with as much as the duty of writing in a post-Holocaust period. She considers the paintings of such significant affects on our time as T. S. Eliot, Simone Weil, Anne Frank, E. L. Doctorow, Norman Mailer, Eugenio Montale, Philip Roth, and Saul Bellow. injuries of impact combines serious research with own reaction and autobiographical moments. It contains quotidian encounters in friendship, intercourse, society, artwork, politics, reaction to violence, and non secular observance, which fight for ethical flooring during this post-Holocaust period.
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Additional resources for Accidents of Influence: Writing As a Woman and a Jew in America
Or is it the worm that creeps into the soul and corrupts all doctrine? Ostensibly this was done in sympathy with the deprived French workers, but whatever the real reason, certainly it was out of deep division *Simone Weil, a Life, Pantheon, 1978. Her frail and brilliant life holds all the keys to the great moral question confronted here. Having fled with her parents to America to escape the oncoming Nazis, she contrived to get back to England where she wrote and planned with her friends for the resistance of the Free French Forces, contracted tuberculosis and died of starvation caused by her efforts to limit her nourishment to something less than what a French worker would eat during the German occupation.
She refused to eat enough to keep her healthy, she sought out freezing hovels to live in, and often had to be rescued by her welltodo parents, particularly by her mother, who would toil up the stairs to her tenement apartment and secretly plant small sums of money there which Simone, always contemptuous of ledgerkeeping, would delightedly discover and spend. The biographer tells us she may have expected to have this woman bar her way through the door as the wives of workers often did. If it seemed possible to inject a note of humor into her life—it doesn't—we might hear an echo of Woody Allen's quip about identity: Jewish, with an explanation.
Of the three, Roth appears to have the most imitators and followers. A writer living in a big city like New York, or Newark, or Cleveland, where there are plenty of Jews, could keep his or her eyes and ears open in the family and on the buses and pick up the prose rhythms that are so helpful in enlivening the pages of books. Such a writer might have been writing about the most personal or private aberration, but the prose rhythms were there and thus another Jewish novel was born. And it isn't that I see Jewish life so differently from the way those writers do.
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