By Norman Ravvin
Targeting the way in which Jewish historical past - fairly the Holocaust - and culture tell postwar Canadian and American Jewish literature, this article bargains readings of the works of influential writers comparable to Saul Bellow, Leonard Cohen, Eli Mandel, Mordecai Richler, Chava Rosenfarb, Philip Roth and Nathaneal West. Norman Ravvin highlights the worries that those disparate writers proportion as Jewish writers in addition to areas their paintings within the context of the wider traditions of mulitculturalism, postcolonial writing, and important conception.
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Extra resources for A House of Words: Jewish Writing, Identity, and Memory
177) Soderlind is even more careful than Hutcheon to avoid invoking this interchange. She transcribes Edith's well-known utterance after the scene with Hitler, which, when translated from Greek, means "I am Isis, born of all things, both what is and what shall be, and no mortal has ever lifted my robe" (Soderlind 66). Edith's sudden transformation into a figure embodying both Isis and Catherine Tekakwitha is often seen as the novel's climactic sign that magic is afoot, that an alternative ontology is being affirmed.
Which includes both the built and the natural world, real and fictional pasts, and allows members of the community to project their lives into the future"7 (qtd. in Shubert 44). Within this historical continuum, ruins and relics can very well be built into a new building, as a structure is made to take into account its site and the buildings that preceded it there, as well as its relationship to geology and native culture. In Out of Place Eli Mandel finds inspiration in a similar historical continuum.
Margaret Atwood's early, but influential Survival may well have set the stage for this curious avoidance of Hitler's presence in the 25 Writing around the Holocaust novel. Her thematic criticism generalizes and, I would say, trivializes Cohen's intentions by arguing that "Beautiful Losers depicts not only the sufferings of the victim, but the mentality of the Canadian onlooker who needs to identify with victims" (100). Stephen Scobie echoes this notion in his Leonard Cohen, though he admits to a certain discomfort with reading "the whole of Beautiful Losers as ...
A House of Words: Jewish Writing, Identity, and Memory by Norman Ravvin