By Norman Ravvin
Concentrating on the way in which Jewish historical past - rather the Holocaust - and culture tell postwar Canadian and American Jewish literature, this article bargains readings of the works of influential writers resembling Saul Bellow, Leonard Cohen, Eli Mandel, Mordecai Richler, Chava Rosenfarb, Philip Roth and Nathaneal West. Norman Ravvin highlights the worries that those disparate writers percentage as Jewish writers in addition to areas their paintings within the context of the wider traditions of mulitculturalism, postcolonial writing, and significant conception.
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Concentrating on the way in which Jewish heritage - rather the Holocaust - and culture tell postwar Canadian and American Jewish literature, this article bargains readings of the works of influential writers comparable to Saul Bellow, Leonard Cohen, Eli Mandel, Mordecai Richler, Chava Rosenfarb, Philip Roth and Nathaneal West.
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Additional info for A House of Words: Jewish Writing, Identity, and Memory
Yet despite such challenges and attacks, and despite the vandalism by "roaming gangs of truculent French Canadians," Jewish community leaders - Uncle Abe among them - publicly reaffirmed their commitment to the anti-Semitic Union Nationale government. Jake recalls with disgust how proud these men were to be photographed with a government minister, "shaking hands and smiling benignly on the steps outside the Chateau Frontenac in Quebec City" (124-5). In St. Urbairis Horseman the familiar streets off the Main are a zone of contention, primarily between Jewish heroism and Jewish submission.
Galloping, thundering" to find Mengele, the "angel of death" of Auschwitz, to whom he would mete out just retribution (244). Jake imagines Joey's interests to be firmly fixed on the perpetrators and on avenging Nazi crimes, rather than on the victims and their suffering. Jake's interest is not so monomaniacal; he ruminates over the testimony of Auschwitz guards as they describe the torments and degradations of the camp (67), and broods over one of the most famous images of the Holocaust: "the familiar photograph of a bewildered little Jewish boy, wearing a cap, a torn pullover, and shorts, his eyes aching with fear as he raises his arms over his head.
She makes much of the book's "insistent use of pornography" and its focus on a bizarre blend of cruelty and sexuality (43), yet she does not mention the Hitlerian fantasy of sex and violence that F. and Edith share: - Stand up, F. Get your mouth off me. I'm pretending that you are someone else. -Who? - The waiter. - Which one? I demanded. - With the mustache and the raincoat. - I thought so, I thought so. - You noticed him, too, didn't you, F.? - Yes. (177) Soderlind is even more careful than Hutcheon to avoid invoking this interchange.
A House of Words: Jewish Writing, Identity, and Memory by Norman Ravvin