Jewish Literary Notes from Around the Web

  • The Jewish Book Council shares some of the titles that have recently arrived in its office.
  • I enjoy all of Josh Lambert’s books columns for Tablet, but this week’s contribution really hit home.
  • Mark your calendar for next Wednesday’s Twitter book club chat about Elizabeth Rosner’s novel, Blue Nude.
  • Attention, aspiring authors of Jewish-themed YA novels: The Whole Megillah has a contest for you! Enter by March 14.
  • Speaking of contests, YM Books (an imprint of YALDAH Media, Inc.) is running one to promote Evelyn Krieger’s One Is Not a Lonely Number. Entry deadline is January 11.
  • London’s Jewish Book Week begins late next month, and the program is now online. (Bonus for those of us who can’t get there: “Many of our sessions will be available as podcasts after the festival.”)
  • Shabbat shalom!

    In Josh Lambert’s Tablet Books Column, A Familiar Name

    If you follow this blog, it’s likely not news to you that one of my most trusted resources for information on new Jewish books is Josh Lambert’s column on Tablet. But I found something especially newsworthy in this week’s column: a mention of William C. Donahue‘s Holocaust as Fiction: Bernhard Schlink’s Nazi Novels and Their Films (Palgrave).

    To explain why this discovery resonated so strongly, I must backtrack.

    Almost eighteen years ago, when I was entering a Ph.D. program in Modern French history, I found myself in an intensive summer school class, trying to acquire sufficient skills to pass the German portion of my department’s language requirements. Yes, I was focusing on France, but the department required me, as a Europeanist, to demonstrate sufficient reading knowledge of both French and German.

    Never mind that my paternal grandparents had been born and raised in Germany. Never mind that my father grew up speaking German at home–his grandmother, who joined the family in New York in 1946, never really learned to speak English. Never mind that, at times throughout my childhood, my father and his parents would switch to German when they wanted to communicate something they did not want my sister or me to understand. I hadn’t learned German. I hadn’t wanted to learn it. But that summer of 1993, I didn’t have a choice any longer. And William C. Donahue (Bill), then pursuing his own doctoral studies, was my instructor.

    Bill was an excellent teacher (as was the other then-graduate student, Joe Metz, who worked with our group in additional drill sessions). And although, as his new book’s title suggests, his primary scholarly interests rested in German literature, Bill was very conscious of and sensitive to pedagogical issues—including the issue of how Nazism and the Holocaust were taught and represented in elementary German-language instruction.

    Ultimately, Bill wrote (and won an award for) an article titled “‘We shall not speak of it’: Nazism and the Holocaust in the Elementary German Course.” I am proud that one of the appendices to this article comprises questions that I conveyed that summer from my classmates to my grandparents during a weekend visit, and my grandparents’ responses. (If you click the link above, you’ll see only the first page of the article. Bill mentions the interview there, but you’ll need full access via a participating library or publisher to see the article and interview in their entirety.)

    One word that I learned that summer working with Bill and Joe appears more than once in what is the effective title story of my forthcoming collection, Quiet Americans. It’s a word that resonated strongly when I learned it, and, evidently, it stayed with me long past the time when most of the others that I’d learned that summer had, frankly, disappeared from my memory.

    It’s Vergangenheitsbewältigung.

    As the story’s narrator explains, “It’s a word that means, roughly, ‘coming to terms with the past.'”

    Bill Donahue has helped me–and, I am sure, many others–with that process of coming to terms with the past. I look forward to reading his new book.

    Oh, and by the way: Bill (and Joe) also helped me pass my department’s German exam that long-ago fall.

    Words of the Week: Ron Leshem (trans. Mitch Ginsburg)

    Many Israeli writers petition for peace and rail against the occupation. I have added my voice to that choir, particularly in May during the government’s lethally inept handling of the Turkish flotilla that tried to break the embargo on Gaza. Yet, as I look back at 2010 and the flotilla, I deeply believe that the greatest peril is from a ruthless and implacable foe: religious fanaticism. And the people on the ship that the Israeli naval commandos boarded, the Mavi Marmara, with their motive and capacity to manipulate world opinion, were acting cynically on its behalf. The death of nine people on the Mavi Marmara was a calamity. But activists on board stabbed and shot the soldiers who sought to steer the ship to a port from which nonmilitary cargo could be trucked to Gaza.

    It is simple for an author to declare: “Peace. Peace now!” But it is a hollow demand.

    From “Israel’s Present Tense,” by Ron Leshem (trans. Mitch Ginsburg), The New York Times, January 2, 2011

    Jewish Literary Notes from Around the Web

    Shabbat shalom, and Happy New Year!

    Richard Holbrooke’s German War Photo–And Mine

    I’ve been quietly reading as much as I can find about Richard Holbrooke since the diplomat’s unexpected death earlier this month. And I’ve noticed that in several articles, including this reprinted excerpt from Abigail Pogrebin’s Stars of David: Prominent Jews Talk About Being Jewish, mention has been made of a certain photograph close to Holbrooke’s heart:

    A New York Times profile of Holbrooke during his tenure in Germany described how he displayed, in his elegant ambassador’s residence, a photograph of his grandfather in a World War I uniform: “I show it to German visitors as a symbol of what they lost,” Holbrooke told the Times. When I ask him about it now, he shows me the very picture. “Every German family has a photograph like that. And so I just kept it in the living room. Some people would ignore it; others would stop and stare at it. Some would demand to know why it was there—what was the message I was sending? I said, ‘This is an existential fact; this is my grandfather. You may read anything you wish into this photograph.’ And I also said, ‘If history had turned out differently, maybe I’d be Germany’s ambassador to the United States instead of America’s ambassador to Germany.’ My mother didn’t like it at all. She said it was a militaristic picture and there are a lot of nicer pictures; she’s not into symbolism at all. And it’s true; I could have had an ordinary picture of my grandfather. But don’t you find that picture—the original, with his handwriting—extraordinary?”

    I don’t know about every German family, but my German-Jewish (now American) family has a photo like this, too. And I have a copy in my home, clustered within a group of other family photographs. It depicts my great-grandfather, Kaufmann Dreifus, with his German soldier fellows.

    My great-grandfather, Kaufmann Dreifus, is in the front row, second from the left.

    We’re not sure of the date, but we know that Kaufmann (like the character modeled after him in “Matrilineal Descent,” the second story in my forthcoming short-fiction collection, Quiet Americans) served his native Germany in World War I. (He died a few years later, a diabetic before insulin became widely available.)

    It’s true. I, too, could display an ordinary picture of my great-grandfather.

    But don’t you find this picture—not to mention the fact that a copy remains for me to scan into a computer from my home in New York City—extraordinary?

    A side note: I reviewed Stars of David when it was published five years ago. To read the review, please click here.