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Women's Holocaust Writing extends Holocaust and literary studies by examining women's artistic representations of female Holocaust experiences, as given voice by Cynthia Ozick, Ilona Karmel, Elzbieta Ettinger, Hana Demetz, Susan Fromberg Schaeffer, Norma Rosen, and Marge Piercy. Through close, insightful reading of fiction, S. Lillian Kremer explores Holocaust representations in works distinguished by the power of their literary expression and attention to women's diverse experiences. She draws upon history, psychology, women's studies, literary analysis, and interviews with authors to compare writing by eyewitnesses working from memory with that by remote "witnesses through the imagination."
Introduction : the role of gender in the Holocaust / Lenore J. Weitzman and Dalia Ofer -- Gender and the Jewish family in modern Europe / Paula E. Hyman -- Keeping calm and weathering the storm : Jewish women's responses to daily life in Nazi Germany, 1933-1939 / Marion Kaplan -- The missing 52 percent : research on Jewish women in interwar Poland and its implications for Holocaust studies / Gershon Bacon -- Women in the Jewish labor bund in interwar Poland / Daniel Blatman -- Ordinary women in Nazi Germany : perpetrators, victims, followers, and bystanders / Gisela Bock -- The Grodno Ghetto and its underground : a personal narrative / Liza Chapnik -- The key game / Ida Fink -- 5050
Finalist, 2023 National Jewish Book Award Winners in Women’s Studies In Women Writing Jewish Modernity, 1919–1939, Allison Schachter rewrites Jewish literary modernity from the point of view of women. Focusing on works by interwar Hebrew and Yiddish writers, Schachter illuminates how women writers embraced the transgressive potential of prose fiction to challenge the patriarchal norms of Jewish textual authority and reconceptualize Jewish cultural belonging. Born in the former Russian and Austro‐Hungarian Empires and writing from their homes in New York, Poland, and Mandatory Palestine, the authors central to this book—Fradl Shtok, Dvora Baron, Elisheva Bikhovsky, Leah Goldberg, and Debora Vogel—seized on the freedoms of social revolution to reimagine Jewish culture beyond the traditionally male world of Jewish letters. The societies they lived in devalued women’s labor and denied them support for their work. In response, their writing challenged the social hierarchies that excluded them as women and as Jews. As she reads these women, Schachter upends the idea that literary modernity was a conversation among men about women, with a few women writers listening in. Women writers revolutionized the very terms of Jewish fiction at a pivotal moment in Jewish history, transcending the boundaries of Jewish minority identities. Schachter tells their story and in so doing calls for a new way of thinking about Jewish cultural modernity.
Examines women's life writing in order to shed light on female complicity in the Second World War and the Holocaust.
A moving and detailed portrait of women in the most terrible circumstances, by a respected author and Holocaust survivor.
#1 New York Times Bestseller Edith Hahn was an outspoken young woman in Vienna when the Gestapo forced her into a ghetto and then into a slave labor camp. When she returned home months later, she knew she would become a hunted woman and went underground. With the help of a Christian friend, she emerged in Munich as Grete Denner. There she met Werner Vetter, a Nazi Party member who fell in love with her. Despite Edith's protests and even her eventual confession that she was Jewish, he married her and kept her identity a secret. In wrenching detail, Edith recalls a life of constant, almost paralyzing fear. She tells how German officials casually questioned the lineage of her parents; how during childbirth she refused all painkillers, afraid that in an altered state of mind she might reveal something of her past; and how, after her husband was captured by the Soviets, she was bombed out of her house and had to hide while drunken Russian soldiers raped women on the street. Despite the risk it posed to her life, Edith created a remarkable record of survival. She saved every document, as well as photographs she took inside labor camps. Now part of the permanent collection at the Holocaust Memorial Museum in Washington, D.C., these hundreds of documents, several of which are included in this volume, form the fabric of a gripping new chapter in the history of the Holocaust—complex, troubling, and ultimately triumphant.
Despite some pioneering work by scholars, historians still find it hard to listen to the voices of women in the Holocaust. Learning more about the women who both survived and did not survive the Nazi genocide — through the testimony of the women themselves — not only increases our understanding of this terrible period in history, but makes us rethink our relationship to the gendered nature of knowledge itself. Women in the Holocaust is about the ways in which socially- and culturally-constructed gender roles were placed under extreme pressure; yet also about the fact that gender continued to operate as an important arbiter of experience. Indeed, paradoxically enough, the extreme conditions of the Holocaust — even of the death camps — may have reinforced the importance of gender. Whilst Jewish men and women were both sentenced to death, gender nevertheless operated as a crucial signifier for survival. Pregnant women as well as women accompanied by young children or those deemed incapable of hard labour were sent straight to the gas chambers. The very qualities which made them women were manipulated and exploited by the Nazis as a source of dehumanization. Moreover, women were less likely to survive the camps even if they were not selected for death. Gender in the Holocaust therefore became a matter of life and death.
A study of Holocaust literature by women, most of them Jewish, based on five memoirs and one novel: Gerda Klein's "All but My Life" (1957), Charlotte Delbo's "None of Us Will Return" (1965), Judith Dribben's "A Girl Called Judith Strick" (1970), Susan Fromberg Schaeffer's novel "Anya" (1974), Fania Fenelon's "Playing for Time" (1976), and Livia Bitton Jackson's "Elli" (1980). Examines experiences specific to women in concentration and labor camps, varieties of characterization in the texts, relations between male and female internees, and factors which contribute to textual authenticity.
In this book, Camila Loew analyzes four women’s testimonial literary writings on the Holocaust to examine and question some of the tenets of the fields of Holocaust studies, gender studies, and testimony. Through a close reading of the works of Charlotte Delbo, Margarete Buber-Neumann, Ruth Klüger, and Marguerite Duras, Loew foregrounds these authors’ search for a written form to engage with their experiences of the extreme. Although each chapter contains its individual focus and features, the book possesses a unity in intention, concerns, and consequences. In the theoretical introduction that unites the four chapters, Loew eschews essentialism and revises the emergence of the field of Women and Holocaust studies from the early 1980s on, and signals some of its shortcomings. In response, and in accordance with a recent turn in various disciplines of the Humanities, Loew highlights the ethical dimension of testimony and its responsible commitment to the other. In dealing with the texts as literary testimonies—a complex genre, between literature and history—, testimony is freed from the obligation to respond to the requirements of factual truth, and becomes a privileged form to voice the traumatic event, and to symbolically explore the role of excess.
Women's Holocaust Writing, the first book of literary criticism devoted to American Holocaust writing by and about women, extends Holocaust and literary studies by examining women's artistic representations of female Holocaust experiences. Beyond racial persecution, women suffered gender-related oppression and coped with the concentration camp universe in ways consistent with their prewar gender socialization. Through close, insightful reading of fiction S. Lillian Kremer explores Holocaust representations in works distinguished by the power of their literary expression and attention to women's diverse experiences.