By David Patterson, Alan L. Berger, Sarita Cargas
Whether it's a singular, memoir, diary, poem, or drama, a standard thread runs during the literature of the Nazi Holocaust—a motif of non-public testimony to the dearness of humanity. With that standpoint the specialist authors of Encyclopedia of Holocaust Literature adopt profiling 128 of the main influential first iteration authors who both survived, perished, or have been heavily hooked up to the Holocaust. prepared alphabetically by way of writer, the entire entries resolution a similar uncomplicated questions on the writer and his or her paintings: what's the nature of the author's literary reaction to the Holocaust? what's his or her position in Holocaust literature? What does the author's paintings give a contribution to an figuring out of the Holocaust? what's precise concerning the author's paintings? What are a few key moments within the author's existence? What matters does the author's paintings pose for the reader? to deal with those questions, the entries are in most cases equipped into 3 basic divisions: (1) a gap part on why the author's paintings has an important or specific position in Holocaust literature, (2) a moment part containing details at the author's biography, and (3) a severe exam of the highlights of the author's paintings. mostly, the 3rd part is the longest, because the concentration of the encyclopedia is the literature, now not the author.
The Encyclopedia is meant for all scholars and academics of the Holocaust, despite their degrees of studying. Avenues for additional examine are integrated on the end of every access and in a entire bibliography of fundamental works of Holocaust literature and a moment bibliography of serious reviews of Holocaust literature.
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Since 1945, it has been published in seven languages and a play, A Bouquet of Violets, based on the diary, was performed in Warsaw in 1986. Excerpts from the diary have also 20 • Berg, Mary (1924– ) appeared in documentary films, photo collections, histories, and an anthology of ghetto diaries. ódº@, Poland, in 1924. ódº@. Berg began to write on October 10, 1939, recounting her family’s flight to Warsaw during the German invasion. ódº@, she continued to record her experiences. In December, she and her sister returned to Warsaw.
Freedmann says, “Leave that white thing alone and help me” (p. 99). The “white thing” is her mother’s leg. Ignoring a physician’s statement that her mother will die, Elli takes Mrs. Freedmann to the infirmary. She faithfully speaks to her mother every day through knotholes in the wooden wall near her bed. Slowly and painfully her mother regains her strength. In the interim, Elli is “adopted” by a friend of her mother’s who has a daughter Elli’s age. “Amid the uncaring madness of Auschwitz,” writes Elli, “I had found a pocket of love” (p.
79). The young girls among the women prisoners would recount stories of their first loves, dates, and boyfriends. One day, a bunk collapses on Livia’s mother, paralyzing her. When Elli attempts to help her mother, Mrs. Freedmann says, “Leave that white thing alone and help me” (p. 99). The “white thing” is her mother’s leg. Ignoring a physician’s statement that her mother will die, Elli takes Mrs. Freedmann to the infirmary. She faithfully speaks to her mother every day through knotholes in the wooden wall near her bed.