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In this pathbreaking study Susan Gubar demonstrates that Theodor Adorno's famous injunction against writing poetry after Auschwitz paradoxically inspired an ongoing literary tradition. From the 1960s to the present, as the Shoah receded into a more remote European past, North American and British writers struggled to keep its memory alive.
Many contemporary writers, among them Anthony Hecht, Gerald Stem, Sylvia Plath, William Heyen, Michael Hamburger, Irena Klepfisz, Adrienne Rich, Jorie Graham, Jacqueline Osherow, and Anne Michaels, grappled with personal and political, ethical and aesthetic consequences of the disaster. Through confessional verse and reinventions of the elegy, as well as documentary poems about photographs and trials, poets serve as proxy-witnesses of events that they did not experience firsthand. By speaking about or even as the dead, these men and women of letters elucidate what it means to cite, reconfigure, consume, or envy the traumatic memories of an earlier generation. As the testimonies of eyewitnesses come to a close, this moving meditation by a major feminist critic finds in poetry a stimulant to empathy that can help us take to heart what we forget at our own peril.
- Sales Rank: #3180973 in Books
- Published on: 2003-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.58" h x 1.13" w x 6.28" l,
- Binding: Hardcover
- 288 pages
From Library Journal
The sheer volume of firsthand Holocaust literature seems to render postwar English-language poetry on the Holocaust redundant, if not hubristic. In this subtly argued and thoughtful book, influential feminist scholar Gubar (English, Indiana Univ.), coeditor of a classic anthology of women's writing, The Madwoman in the Attic, shows how such poetry can permit a kind of witnessing by proxy. The risks of such poetry are a lapse into moral sensationalism, the poet's narcissistic fear of irrelevance in light of earlier suffering, or a ghoulish fascination with horror devoid of intellectual substance. Gubar explains how poets avoid these risks and speak on behalf of the dead without usurping their place. A reading of Adrienne Rich's use of Holocaust metaphors is particularly astute, and Gubar's commentary on Jacqueline Osherow, Anthony Hecht, and Irving Feldman shows how the aesthetic can be used to intensify "moral, intellectual, and sensory awareness" of an event that continues to haunt contemporary politics, culture, and art. For research collections in Holocaust studies, postwar poetry, and Jewish studies.
Ulrich Baer, New York Univ.
Copyright 2002 Reed Business Information, Inc.
Review
"It is hard to imagine [Susan Gubar] bettering her previous work, but this is a culmination... It will become a classic for the way it is written, for its sense of what poetry in general can do, and for its comprehensive focus on Holocaust representation." -Geoffrey Hartman
From the Publisher
An eloquent exploration of Holocaust verse in English by one of America's leading feminist critics.
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