By Norma Rosen
For Norma Rosen, the Holocaust is the crucial occasion of the 20th century. during this publication, 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 impact combines severe research with own reaction and autobiographical moments. It contains quotidian encounters in friendship, intercourse, society, artwork, politics, reaction to violence, and spiritual observance, which fight for ethical floor during this post-Holocaust period.
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Extra info for Accidents of Influence: Writing As a Woman and a Jew in America
Religious meditator that she was, she gave to her bigotry an elaborately theological basis. Or is it the worm that creeps into the soul and corrupts all doctrine? Ostensibly this was done in sympathy with the deprived French workers, but whatever the real reason, certainly it was out of deep division *Simone Weil, a Life, Pantheon, 1978. Her frail and brilliant life holds all the keys to the great moral question confronted here. Having fled with her parents to America to escape the oncoming Nazis, she contrived to get back to England where she wrote and planned with her friends for the resistance of the Free French Forces, contracted tuberculosis and died of starvation caused by her efforts to limit her nourishment to something less than what a French worker would eat during the German occupation.
She refused to eat enough to keep her healthy, she sought out freezing hovels to live in, and often had to be rescued by her welltodo parents, particularly by her mother, who would toil up the stairs to her tenement apartment and secretly plant small sums of money there which Simone, always contemptuous of ledgerkeeping, would delightedly discover and spend. The biographer tells us she may have expected to have this woman bar her way through the door as the wives of workers often did. If it seemed possible to inject a note of humor into her life—it doesn't—we might hear an echo of Woody Allen's quip about identity: Jewish, with an explanation.
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. Of course one "happens" to be a Jew—one happens to be everything one happens to be—and everything one happens to be digs into the soul. Jewish mothers were smothering; Jewish daughters were princesses; Jewish sons were trying to get out from under all that and touch America, because of course they were the ones who would become the writers.
Accidents of Influence: Writing As a Woman and a Jew in America by Norma Rosen