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A Thousand Darknesses: Lies and Truth in Holocaust Fiction 1st Edition

5 out of 5 stars 5 customer reviews
ISBN-13: 978-0195313963
ISBN-10: 0195313968
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Editorial Reviews

Review


"Ruth Franklin's new book, A Thousand Darknesses: Lies and Truth in Holocaust Fiction, is more than a towering work of criticism and insight -- it's an invaluable corrective."
--The Atlantic


"By scrupulously defending the integrity of literature, Ms. Franklin has offered her own eloquent testimony."
--Wall Street Journal


"Franklin explicates her central ideas with a piercing, graceful lucidity... a beautiful book that addresses the ugliest of subjects, proving, once more, that it can be done."
--Washington Post


"This text is superbly written and offers insightful analysis."
--Library Journal


"Ruth Franklin's keen analysis makes a major contribution to the literary criticism of Shoah writers, and her humane perspective renders the nuances of a fraught subject newly comprehensible."
--Jewish Book Council


"...an honest effort to inject a little good sense and judgment into an understandably emotional subject."
--Jewish Literary Review


"...a brilliant, challenging and surprising work."
--Jewish Journal


"What A Thousand Darknesses does do, and does very well, is challenge us on every level of virtually every aspect of Holocaust literature. That the Holocaust is 'unknowable' doesn't mean that a lot of it can't be known. Literature lays bare the path to know what is knowable, and Franklin neatly shows us the way."
--The Jewish Daily Forward


"A Thousand Darknesses succeeds in forming a coherent whole that makes a powerful argument for the propriety of treating the Holocaust as a wellspring of literary art."
--Commentary


"Franlin is particularly astute in evaluating why the grayness of truth is important in a Holocaust work... Not merely about the Holocaust, but about why we study history, why we read, and why we tell stories."
--The Literary Review


"[An] important work...Lucid, persuasive...Highly recommended."--CHOICE


"Franklin's work of Holocaust literary criticism is excellent in its interpretations and a valuable read."--Cynthia Crane, H-Net Reviews


About the Author


Ruth Franklin is a senior editor at The New Republic.
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Product Details

  • Hardcover: 272 pages
  • Publisher: Oxford University Press; 1 edition (November 12, 2010)
  • Language: English
  • ISBN-10: 0195313968
  • ISBN-13: 978-0195313963
  • Product Dimensions: 9.3 x 1.1 x 6.4 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #1,396,915 in Books (See Top 100 in Books)

More About the Author

Ruth Franklin is a book critic and frequent contributor to The New Yorker, Harper's, and many other publications. A recipient of a New York Public Library Cullman fellowship, a fellowship at the Leon Levy Center for Biography, and a Guggenheim fellowship, she lives in Brooklyn.

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Top Customer Reviews

Format: Hardcover
How future generations will know about the horrors of the Holocaust has been a question in the minds of survivors, scholars, artists, politicians and many others from as early as the war period itself. In the depths of the Warsaw Ghetto, Emanuel Ringelblum was concerned enough with this issue that he organized the collecting of the Oyneg Shabes Archive to document and describe, in every format possible, that which was witnessed in the ghetto.
Ruth Franklin realized, when she set out to write her book, that there are those, who like Theodor Adorno and Elie Wiesel, insisted that only a person who actually lived through the Holocaust could truly tell future generations about it and that in some way art and the Holocaust could not coexist. So it seems that the memoirs and oral histories of the survivors would be, to this school of thought, the only sources of acceptable evidence about those terrible, incomprehensible times. On the other hand, Franklin insists that "if we look to literature...to teach us about life, then it is no wonder that we desperately desire it to teach us also about the Holocaust... one of the most obscene catastrophes in history." So the compromise must be "to find a secure place, somewhere between memory and imagination (Langer)," in order to properly remember the victims. Franklin accepts the premise that there really is no clear line, but rather a fuzzy one, separating memoirs and literature, truth and fiction, history and art.
The author thoroughly researched the literature, classical and the most contemporary, for all that she could find on the tensions mentioned above. She then chose to study writers on the Holocaust, witnesses as well as `those who came after' and analyzed their works in a most brilliant manner.
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Format: Hardcover
This jewel of a book addresses difficult questions concerning the representation and narration of the Holocaust and also the use of that dark episode of history as material for creative writing.
My apprehensions about it, having read only one of the books the author considers, were soon put to rest. The author provided enough relevant detail to give me a sense of those books and steer me through her argument. If anything, I'm now looking forward to reading some of them.
The writing is clear, elegant and direct. The book is evidently based on extensive research and draws on a number of authors and texts, many predating the Holocaust, Oscar Wilde, for instance. The tone of the book is lively and engaging and I think it was this that kept the grimness of the subject from overwhelming my reading experience.
Quite possibly the only uncontroversial thing one can say on the subject of the representation and literary treatment of the Holocaust is that it's fraught with controversy. I hope it's not too controversial to suggest that books such as these might have a wider relevance than only to issues arising out of the literary treatment of the Holocaust. The author's discussion and argument must have some use in thinking about how we reflect on major historical events generally, not just artistically and not just the Holocaust.
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Format: Hardcover Verified Purchase
This is a well-considered evaluation of the literature that surrounds the Holocaust. Rather than discuss the events of the Holocaust, Franklin evaluates the different ideas that have grown up around the tremendously diverse media about the Holocaust. This is a refreshing perspective and gives the reader a good sense of how media can be used to cope with the trauma of an event as well as the taboos that seem to have developed about that media.
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Format: Paperback
It is truly wondrous when an author possesses such an authoritative voice and passion for her subject that she can fully immerse the reader into the topics and issues she holds so dear. For an area easily considered (at first glance) dry, or overwrought-- indeed, the author acknowledges "Holocaust fatigue," among other important subjects, head on--Ms. Franklin's fervor and fascination quickly becomes the reader's own. Exhaustive in its analysis yet always engaging, doggedly researched but never lacking a humanizing, personal element of its subjects, "A Thousand Darknesses" is a masterful, mesmerizing compendium of three generations of Holocaust literature.

Seven decades on-- as the last of the survivors in our midst are passing-- a work of this nature is more important than ever. For the "fourth generation" now coming up through grade school, Franklin's work will serve as a touching conclusion-- or perhaps the perfect starting point-- for newcomers to learn and choose how to immerse themselves into the reams of material available. It will also pose as a helpful guide for them to heed caution, since they will undoubtedly encounter conundrums and contradictions in the works available along the way. Franklin deftly reveals how even the literary "touchstones," held high in the public consciousness (Shindler's Ark- converted to film as Shindler's List), are rife with exaggerations, embellishments, or outright fictionalizations, while condemned works were correctly called "novels" all along (Kosinksi) but simply interpreted otherwise, although said authors, on the literary upswing, were not so quick to clarify misconceptions. But can heralded and censured works alike nonetheless be worthy of our affection?
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