Synopses & Reviews
""A virtue of The Longest Shadow is that, despite the familiarity of many of its pieces, it feels more initiatory than recapitulative..."" -- Modern Jewish Studies
""The Longest Shadow illuminates the dangers inherent in representations of the Holocaust and of the obverse, the denial, of that unique part of our history."" -- Judaism: Quarterly Journal
""The Longest Shadow, a collection of essays on the cultural 'aftermath' of the Holocaust by the literary critic Geoffrey Hartman, epitomizes this conflicted legacy of silence and speech, of numbness and feeling -- and of withdrawal and desire for connection. If Hartman's essays confront the inadequacy of language in the bewildering, alienating wake of the Holocaust, they also resonate with a sense of loneliness that makes silence and isolation unbearable.""A -- Joanne Jacobson, The Nation
""The personal narratives that frame the book also contain by far its richest pages, both emotionally and in the theoretical speculations to which they give rise."" -- Times Literary Supplement
Distinguished literary scholar Geoffrey H. Hartman, himself forced to leave Germany at age nine, collects his essays, both scholarly and personal, that focus on the Holocaust. Hartman contends that although progress has been made, we are only beginning to understand the horrendous events of 1933 to 1945.
Synopsis
Distinguished literary scholar Geoffrey H. Hartman, himself forced to leave Germany at age nine, collects his essays, both scholarly and personal, that focus on the Holocaust. Hartman contends that although progress has been made, we are only beginning to understand the horrendous events of 1933 to 1945. The continuing struggle for meaning, consolation, closure, and the establishment of a collective memory against the natural tendency toward forgetfulness is a recurring theme. The many forms of response to the devastation - from historical research and survivors' testimony to the novels, films, and monuments that have appeared over the last fifty years - reflect and inform efforts to come to grips with the past, despite events (like those at Bitburg) that attempt to foreclose it. The stricture that poetry after Auschwitz is ""barbaric"" is countered by the increased sense of responsibility incumbent on the creators of these works.