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What 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.
A New Translation From The French By Marion Wiesel Night is Elie Wiesel's masterpiece, a candid, horrific, and deeply poignant autobiographical account of his survival as a teenager in the Nazi death camps. This new translation by Marion Wiesel, Elie's wife and frequent translator, presents this seminal memoir in the language and spirit truest to the author's original intent. And in a substantive new preface, Elie reflects on the enduring importance of Night and his lifelong, passionate dedication to ensuring that the world never forgets man's capacity for inhumanity to man. Night offers much more than a litany of the daily terrors, everyday perversions, and rampant sadism at Auschwitz and Buchenwald; it also eloquently addresses many of the philosophical as well as personal questions implicit in any serious consideration of what the Holocaust was, what it meant, and what its legacy is and will be.
A New York Times Notable Book of 2016 A Washington Post Notable Nonfiction Pick of 2016 An Entertainment Weekly Best Book of 2016 A Time Magazine Top Nonfiction of 2016 A Seattle Times Best Book of 2016 A Kirkus Reviews Best Book of 2016 An NPR 2016's Great Read A Boston Globe Best Book of 2016 A Nylon Best Book of 2016 A San Francisco Chronicle Best Book of 2016 A Booklist 2016 Editors' Choice In this “thoughtful and persuasive” biography, award-winning biographer Ruth Franklin establishes Shirley Jackson as a “serious and accomplished literary artist” (Charles McGrath, New York Times Book Review). Instantly heralded for its “masterful” and “thrilling” portrayal (Boston Globe), Shirley Jackson reveals the tumultuous life and inner darkness of the literary genius behind such classics as “The Lottery” and The Haunting of Hill House. In this “remarkable act of reclamation” (Neil Gaiman), Ruth Franklin envisions Jackson as “belonging to the great tradition of Hawthorne, Poe and James” (New York Times Book Review) and demonstrates how her unique contribution to the canon “so uncannily channeled women’s nightmares and contradictions that it is ‘nothing less than the secret history of American women of her era’ ” (Washington Post). Franklin investigates the “interplay between the life, the work, and the times with real skill and insight, making this fine book a real contribution not only to biography, but to mid-20th-century women’s history” (Chicago Tribune). “Wisely rescu[ing] Shirley Jackson from any semblance of obscurity” (Lena Dunham), Franklin’s invigorating portrait stands as the definitive biography of a generational avatar and an American literary genius.
The classic novel of a boy’s struggle for survival in WWII Poland, from the National Book Award–winning author of Steps and Being There. “In 1939, a six-year-old boy is sent by his anti-Nazi parents to a remote village in Poland where they believe he will be safe. Things happen, however, and the boy is left to roam the Polish countryside. . . . To the blond, blue-eyed peasants in this part of the country, the swarthy, dark-eyed boy who speaks the dialect of the educated class is either Jew, gypsy, vampire, or devil. They fear him and they fear what the Germans will do to them if he is found among them. So he must keep moving. In doing so, over a period of years, he observes every conceivable variation on the theme of horror” (Kirkus Reviews). Originally published in 1965, The Painted Bird established Jerzy Kosinski as a major literary figure. With sparse prose and vivid imagery, it is a story of mythic proportion and timeless human relevance. “One of the best . . . Written with deep sincerity and sensitivity.” —Elie Wiesel, The New York Times Book Review “Of all the remarkable fiction that emerged from World Wat II, nothing stands higher than Jerzy Kosinski’s The Painted Bird. A magnificent work of art, and a celebration of the individual will. No one who reads it will forget it; no one who reads it will be unmoved by it. The Painted Bird enriches our literature and our lives.” —Jonathan Yardley, The Miami Herald “Extraordinary . . . Literally staggering . . . One of the most powerful books I have ever read.” —Richard Kluger, Harper’s Magazine “One of our most significant writers.” —Newsweek
Once upon a time there was a king, and the king commissioned his favorite wizard to create a magic mirror. This mirror didn’t show you your reflection. It showed you your soul—it showed you who you really were. The wizard couldn’t look at it without turning away. The king couldn’t look at it. The courtiers couldn’t look at it. A chestful of treasure was offered to anyone who could look at it for sixty seconds without turning away. And no one could. The Zone of Interest is a love story with a violently unromantic setting. Can love survive the mirror? Can we even meet each other’s eye, after we have seen who we really are? Powered by both wit and compassion, and in characteristically vivid prose, Martin Amis’s unforgettable new novel excavates the depths and contradictions of the human soul. From the Hardcover edition.
Hailed for its coiled eroticism and the moral claims it makes upon the reader, this mesmerizing novel is a story of love and secrets, horror and compassion, unfolding against the haunted landscape of postwar Germany. When he falls ill on his way home from school, fifteen-year-old Michael Berg is rescued by Hanna, a woman twice his age. In time she becomes his lover—then she inexplicably disappears. When Michael next sees her, he is a young law student, and she is on trial for a hideous crime. As he watches her refuse to defend her innocence, Michael gradually realizes that Hanna may be guarding a secret she considers more shameful than murder. From the Trade Paperback edition.
"I have always had faith that the best writers will rise to the top, like cream, sooner or later, and will become exactly as well-known as they should be-their work talked about, quoted, taught, performed, filmed, set to music, anthologized. Perhaps, with the present collection, Lucia Berlin will begin to gain the attention she deserves." -Lydia Davis A MANUAL FOR CLEANING WOMEN compiles the best work of the legendary short-story writer Lucia Berlin. With the grit of Raymond Carver, the humor of Grace Paley, and a blend of wit and melancholy all her own, Berlin crafts miracles from the everyday, uncovering moments of grace in the Laundromats and halfway houses of the American Southwest, in the homes of the Bay Area upper class, among switchboard operators and struggling mothers, hitchhikers and bad Christians. Readers will revel in this remarkable collection from a master of the form and wonder how they'd ever overlooked her in the first place.

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