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New PDF release: Accidents of Influence: Writing As a Woman and a Jew in

By Norma Rosen

ISBN-10: 0791410919

ISBN-13: 9780791410912

ISBN-10: 0791410927

ISBN-13: 9780791410929

For Norma Rosen, the Holocaust is the valuable occasion of the 20 th century. during this booklet, she examines the connection of post-Holocaust writers to their paintings when it comes to 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 effect combines serious research with own reaction and autobiographical moments. It comprises 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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Extra resources for Accidents of Influence: Writing As a Woman and a Jew in America

Sample text

The story makes the demand that the sufferer, the Jew, must ensure that suffering does not warp him and further separate him from others. Somehow in those fifties stories about Jews debased by suffering—Susskind the schnorrer and thief in "The Last Mohican," the wife in "The Loan" who won't lend money to her husband's needy friend because her own losses frighten her too *The Stories of Bernard Malamud, Plume, 1984.  I disagreed so greatly with Malamud on this that apparently I had to forget about the existence of his tale.

I thought: if Roth could see, as Flaubert had seen, that the character of the woman in his book related more closely to himself than to a sociological portrayal—in Roth's case to a kind of final word on the destructive Jewish mother—there would be some justice in that.  Or, what would be even worse, on Philip Roth, an even better one.  He is too old, and the breast of his choice is too empty; he only mauls it with his teeth.  How to write as a Jew and as an artist, with honorable effort toward both those attributes.

It struck me that something was wrong, and that whatever this was could not always fit into the easy formulation that pits the integrity of the artist against the Philistine. Or against the wish of the rank and file of Jews for the "sentimentalizing and sweetening," as Saul Bellow called it, of Jewish life.  But now as he listened, as he felt uneasy and Page 43 sought to dismiss his emotion, he began to feel that he was wrong to suppose that the separation, the contempt and the gulf had nothing to do with his work; perhaps, on the contrary, it was the center; or perhaps it was the starting­point and compelled the innermost motion of the work to be flight, or criticism, or denial, or rejection.

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Accidents of Influence: Writing As a Woman and a Jew in America by Norma Rosen


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