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Pepper Street is a really nice, safe California neighborhood. The
houses are tidy and the lawns are neatly mowed. Of course, the
country club is close by, and lots of pleasant folks live there.
The only problem is they knocked down the wall at the end of the
street to make way for a road to a new housing development. Now,
that's not good--it's just not good at all. Satirically exploring
what happens when a smug suburban neighborhood is breached by
awful, unavoidable truths, " The Road Through the Wall" is the tale
that launched Shirley Jackson's heralded career.
A genius of literary suspense, known to millions as the author of
the "The Lottery", Shirley Jackson (1916-1965) plumbed the cultural
anxiety of postwar America better than anyone. Based on a wealth of
previously undiscovered correspondence and dozens of interviews,
Shirley Jackson reveals the tumultuous life and inner darkness of
the author, firmly placing Jackson within the American Gothic
tradition.
Karl Koenig has been photographing Holocaust concentration camps
for more than ten years. These photographs of the architecture and
landscape of suffering, he believes, ""may have some impact on
people who are on the path to indifference."" Throughout the
series, Koenig explores narrative and visual dissonances in order
to highlight the inexplicability of the Holocaust itself. Inventor
of the polychromatic gumoil process, a labour-intensive and highly
manipulated method, Koenig creates mono types, each existing as an
unique object.
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" - i.e., faithful to the facts
of history? Or, in other words, when is it okay to lie about the
Holocaust? In her provocative study A Thousand Darknesses: Truth
and Lies In Holocaust Fiction , Ruth Franklin investigates these
questions as they arise in the most significant works of fiction
about the Holocaust, 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 to a mistaken focus on testimony as the primary form of writing
about the Holocaust. As even the most canonical Holocaust 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 - perhaps especially - 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. The result is a study of immense depth
and range that offers a lucid view of an often cloudy field.
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