This is a critical survey of a broad range of fictional representations of the Holocaust over the last twenty years. It brings a new slant to the key debates and issues relevant to those looking at representation and the Holocaust.

Contemporary fiction has never been less contemporary. Midcentury writers tended to set their works in their own moment, but for the last several decades critical acclaim and attention have fixated on historical fiction. This shift is particularly dramatic for writers of color. Even as the literary canon has become more diverse, cultural institutions have celebrated Black, Asian American, Latinx, and Indigenous novelists almost exclusively for their historical fiction. Writing Backwards explores what the dominance of historical fiction in the contemporary canon reveals about American literary culture. Alexander Manshel investigates the most celebrated historical genres—contemporary narratives of slavery, the World War II novel, the multigenerational family saga, immigrant fiction, and the novel of recent history—alongside the literary and academic institutions that have elevated them. He examines novels by writers including Toni Morrison, Viet Thanh Nguyen, Colson Whitehead, Julia Alvarez, Leslie Marmon Silko, Michael Chabon, Julie Otsuka, Yaa Gyasi, Ben Lerner, and Tommy Orange in the context of MFA programs, literary prizes, university syllabi, book clubs, and the National Endowment for the Arts. Manshel studies how historical fiction has evolved over the last half century, documenting the formation of the newly inclusive literary canon as well as who and what it still excludes. Offering new insight into how institutions shape literature and the limits of historical memory, Writing Backwards also considers recent challenges to the historical turn in American fiction.

This book focuses on representative novels by eleven key English novelists who have broken from the realist novel of the post Second World War period. They have reacted to the Thatcherite revolution that thrust Britain into the modern world of multi-national capitalism by giving unusual fictional shape to the impact of global events and culture.

Examines textual representations of the consciousness of men responsible for committing Holocaust crimes. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfictioncontains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators’ performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator’s experience and at the same time impede their access to the perpetrator’s consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

Holocaust Narratives: Trauma, Memory and Identity Across Generations analyzes individual multi-generational frameworks of Holocaust trauma to answer one essential question: How do these narratives change to not only transmit the trauma of the Holocaust – and in the process add meaning to what is inherently an event that annihilates meaning – but also construct the trauma as a connector to a past that needs to be continued in the present? Meaningless or not, unspeakable or not, unknowable or not, the trauma, in all its impossibilities and intractabilities, spawns literary and scholarly engagement on a large scale. Narrative is the key connector that structures trauma for both individual and collective.

Describes Dan Bar-On's method of using storytelling as both a qualitative biographical research method and as an intervention, to bring people from opposite sides of an abyss to a dialogue. Such work needs slow pace and long-term commitment, with a special combination of a scientific rigorous analysis with a sensitive approach toward the people one approaches.

A storyteller’s craft can often be judged by how convincingly the narrative captures the identity and personality of its characters. In this book, the characters who take center stage are “strange” first-person narrators: they are fascinating because of how they are at odds with what the reader would wish or expect to hear—while remaining reassuringly familiar in voice, interactions, and conversations. Combining literary analysis with research in cognitive and social psychology, Marco Caracciolo focuses on readers’ encounters with the “strange” narrators of ten contemporary novels, including Bret Easton Ellis’s American Psycho, Haruki Murakami’s Hard-Boiled Wonderland and the End of the World, and Mark Haddon’s The Curious Incident of the Dog in the Night-Time. Caracciolo explores readers’ responses to narrators who suffer from neurocognitive or developmental disorders, who are mentally disturbed due to multiple personality disorder or psychopathy, whose consciousness is split between two parallel dimensions or is disembodied, who are animals, or who lose their sanity. A foray into current work on reception, reader-response, cognitive literary study, and narratology, Strange Narrators in Contemporary Fiction illustrates why any encounter with a fictional text is a complex negotiation of interlaced feelings, thoughts, experiences, and interpretations.

When Sophica was abruptly separated from her father as a toddler, she found a haven in Grandmother Gitté. But one sunny day in July, when she was six years old, gendarmes marching and shouting in the streets stopped her dreamy childhood and her hopes to go to school and to be a big girl like her sister. She was deported together with her mother and the whole of the Jewish community of Mihaileni, Romania. On foot, through icy fields, they arrived in eastern Ukraine, a strip of land called Transnistria. Death, illness, brutality, shame, became her daily scenes. Sophica suffered hunger and fear but kept her hopes and sanity, albeit losing her sister and her father and witnessing her mother being viciously attacked. She survived typhus and starvation by being strong and quiet. Herman was a jolly little boy who didn’t care much needing to wear the yellow star and being forbidden from school. He continued playing outside with his friends while his father and brother were sent to a labor camp. At the age of 14, when the Second World War ended, he joined a Jewish youth movement and embarked on a ship to the Promised Land. However, their journey was interrupted and they were taken to a British detention camp in Cyprus. Sophica and Herman were given new names, Shulamit and Tzvi. They met and made a home in Israel. Shulamit/Sophica never mentioned her sad childhood, but the essence of the past found its ways out. Sixty-five years after those events, her daughter comes across a family secret and starts asking questions, inducing Shulamit to break her silence and become again the frightened little Sophica. This book tells her moving childhood story.

The first edition of The Human Quest for Meaning was a major publication on the empirical research of meaning in life and its vital role in well-being, resilience, and psychotherapy. This new edition continues that quest and seeks to answer the questions, what is the meaning of life? How do we explain what constitutes meaningful relationships, work, and living? The answers, as the eminent scholars and practitioners who contributed to this text find, are neither simple nor straightforward. While seeking to clarify subjective vs. objective meaning in 21 new and 7 revised chapters, the authors also address the differences in cultural contexts, and identify 8 different sources of meaning, as well as at least 6 different stages in the process of the search for meaning. They also address different perspectives, including positive psychology, self-determination, integrative, narrative, and relational perspectives, to ensure that readers obtain the most thorough information possible. Mental health practitioners will find the numerous meaning-centered interventions, such as the PURE and ABCDE methods, highly useful in their own work with facilitating healing and personal growth in their clients. The Human Quest for Meaning represents a bold new vision for the future of meaning-oriented research and applications. No one seeking to truly understand the human condition should be without it.

Memories of catastrophes--both those which occur naturally and those which are consequences of human actions--loom large in the modern consciousness. The volume opens with an investigation of the concepts of catastrophe and collective memory, and the relationships between them. Arguing that a pervasive catastrophic memory may be as disabling as it is instructive, Gray and Oliver stress the necessity of rendering the phenomenon subject to secular critical inquiry. The value of such an approach is then demonstrated in a series of case studies.