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Constructive Distance: Nicole Krauss’s “Great House” as a Model for Third-Generation Holocaust Fiction

100%

Strakosch A.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

2016

issue 6 "The Holocaust and the Contemporary World"

173-186

As the final Holocaust survivors pass, the urgent task of representing the atrocity in order to keep its memory alive passes to later generations. In the past ten to fifteen years, the third generation (defined here as the grandchildren of survivors) have begun producing inventive and celebrated works of literature that explore the Holocaust from a unique position of generational distance. While psychoanalytic theory has started examining the impact of inherited trauma on the third generation, there is currently little scholarship on the unique characteristics of third-generation fiction and the position from which it is written. As an author whose Jewish grandfather survived the Holocaust, I would suggest that the ethics of representing the atrocity poses particular challenges and opportunities for the third-generation writer. Authors of this generation face a unique ethical conundrum, I argue, in that they are simultaneously connected to and twice -distanced from the event they seek to explore. In this paper, I adapt Marianne Hirsch’s notion of second-generation postmemory to consider a particular third-generation novel, Nicole Krauss’s Great House. I suggest that Krauss’s text is ethically valid not despite but because of its author’s generational distance from the Holocaust. Krauss uses distancing techniques in the structure and content of her novel to highlight her twice-mediated knowledge of the atrocity. By drawing attention to her remoteness from the Holocaust, Krauss enables readers to compare their own dormant knowledge of the atrocity against the version being presented in the text. In this way, she leads readers away from a passive or complacent reading of history towards a more active one. Krauss’s model suggests that the post-generation author’s inevitable distance from the Holocaust is in fact a necessary and productive ingredient of contemporary Holocaust fiction.

Biblioteka Babel Zagłady. O Historii miłości Nicole Krauss

89%

Tomczok M.

Prace Filologiczne. Literaturoznawstwo

2019

issue 9(12) cz.2

143-154

The concept of the Holocaust Babel Library discussed in my article was based on articles and lectures of John Barth, Anna Burzyńska, Umberto Eco and Raymond Federman. I show how this notion has crystallised from the popular postmodernism label that was named the Tower of Babel and had its beginning in 2000s. I follow a 2005 novel − History of Love by American writer Nicole Krauss (Polish, poorly translated, edition was published in 2006) rated among the so-called third generation. I show both the historical aspect of this novel (pogroms of Jews in Słonim in 1941) as well as its ideological facet. The Holocaust Babel Library in Krauss’ prose is a sign of a funeral ritual consisting in the reconstruction of history from innumerable quotations, allusions and references to books.

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1 Jednak Książki. Gdańskie Czasopismo Humanistyczne

1 Prace Filologiczne. Literaturoznawstwo

1 Strakosch A.

1 Tomczok M.

1 2019

1 2016

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Constructive Distance: Nicole Krauss’s “Great House” as a Model for Third-Generation Holocaust Fiction

Biblioteka Babel Zagłady. O Historii miłości Nicole Krauss