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The Book Thief: Holocaust Literature as Best Seller

Thebookthiefcover

 

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

The Book Thief (New York: Albert A. Knopf, 2007), a novel by Australian writer Markus Zusak, accomplished a rare feat for Holocaust literature: the novel won numerous literary awards and became a long-standing international best seller, including being on the New York Times best seller list for a record of 230 weeks. What’s even more surprising about the novel’s success is not only its somber theme, but also the fact it’s a work of literary fiction (as opposed to genre fiction), a style of writing that rarely becomes a mainstream hit. Although the distinction between literary fiction and genre fiction is not cut-and-dry—for instance, Elizabeth Kostova’s novel, The Historian, fits both genres–I’d say that genre fiction places emphasis upon a fast-moving, interesting plot, while literary fiction privileges psychologically nuanced characterizations and a unique narrative style.  Death characterized the Holocaust, and Death is the real narrator of the novel, which begins with the heroine’s end: Liesel Meminger’s death, many years after WWII, after she’s lived a full life and had children and grandchildren of her own. As Death carries the elderly woman’s soul to the other side, it also takes and narrates her childhood diary.

In the late 1930’s and early 40’s, Liesel is a young adopted girl living in Germany. She has her first encounter with Death when her brother, Werner Meminger, who is also given up for adoption along with her, dies on the train to Molching. He’s buried by the railway station. That day, Liesel’s obsession with books—and death–begins. She picks up The Grave Digger’s Handbook, a book dropped by the funeral director at her brother’s funeral. Shortly thereafter, the distraught girl joins what might be seen as a typical German family, with whom she bonds quickly. Liesel’s adoptive father, Hans Hubermann, is a loyal German, who served during WWI, but is not sympathetic to the Nazi regime. Despite his reservations, Hans is enlisted in the German army during WWII. Artistic and sensitive—a painter and accordion player–Hans probably characterizes the attitude of a vast majority of Germans who were not anti-Semitic yet were forced to participate in the Nazi regime. His wife, Rosa, is a no-nonsense woman with a sharp tongue and a loving heart. She washes people’s clothes to supplement their income but gradually, one by one, her customers fire her.

Liesel also meets Max Vandenburg, a Jew hidden by the Hubermann family from the Nazis, whose father fought during WWI alongside Hans Hubermann. Liesel befriends him. When Hans becomes ill, she reads to him. He eventually recovers, in part, the novel suggests, because of the power of friendship transmitted through the act of reading. Liesel and her family have a close call with the Gestapo, as soldiers search their house to see if they can use their basement as a shelter. Fortunately, they deem it too shallow and they leave.
In all respects, Liesel blends in with her adoptive family. Their hardships and struggles become hers as well. She becomes especially close friends with Rudy Steiner, a blond “Aryan” boy a few months older than her, who develops a crush on her. Although the girl refuses to kiss him, together they embark on many adventures, which bond them to one another. Together, they become book thieves when the Mayor and his wife also fire Rosa. Their love of books and of the forbidden, representing a kind of protest against the Nazi regime and against injustice in life in general, binds the two children even more. e murders perpetrated by the Nazis, but it is not sympathetic to them. Rather, Zusak depicts Death as a kind of Humanist, philosophical character: humane and disapproving of senseless violence, hatred and destruction. In parts, Death touches upon the comic and the absurd, needing “a vacation” from its job during the war.
I think the strength of this novel lies in its complex characterizations: the German characters in particular are nuanced and multifaceted, not stereotyped in any way. They too struggle with the evils perpetrated by the Nazi regime and try to help victims, as much as they can. In the end, however, they too become victims of Hitler’s war, as Rosa, Hans and Rudy all die when the Hubermann house is bombed. Rudy doesn’t even get to experience Liesel’s first kiss, dying seconds before she finally declares her love for him and kisses him. Only Liesel survives and gets the chance to have a full life.
If I were to identify any weakness in the novel it would be in the narrative style. Since style functions as a kind of author’s unique fingerprint in literary fiction, it’s largely dependent upon each reader’s subjective taste. The choppy, short sentences and disjointed, subjective structure of the novel weren’t to my personal taste, particularly since I usually look for a dense, sweeping and well-informed description of lived history in Holocaust literature. This novel, however, is impressionistic in both style and structure. But these stylistic features also made The Book Thief popular with readers of all ages, particularly with young readers, who could identify with the characters and appreciate its accessible form. Due to its literary success, The Book Thief was recently made into a movie directed by Brian Percival, released in November 2013. The movie, however, unlike the book, received mixed reviews.

Claudia Moscovici, Literature Salon

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The Holocaust in more personal terms

 

photo by Magdalena Berny

photo by Magdalena Berny

 

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

For every book I write, be it fiction or nonfiction, there is a personal motivation as well as what I’d call a more “universal” element. I have to feel a strong personal connection to the subject of the book, since, after all, I’ll be studying that subject and writing about it for several years. At the same time, I have to believe that it’s a subject that has some historical weight to it, so that it can interest others as well. This was the dual motivation behind writing my first novel, Velvet Totalitarianism (Rowman & Littlefield Publishing, 2009), translated into Romanian as Intre Doua Lumi (Editura Curtea Veche, 2011). This novel draws upon, in part, my family’s story. But it represents, above all, a slice of life about communist Romania during the dismal last years of the Ceausescu regime.

Right now, I’m working on two books about the Holocaust. The first one, called Holocaust Memory, will be a collection of book reviews of some of the most significant and resonant memoirs, histories and novels about the Holocaust that I can find written (or translated) in English. The subject, I believe, is universal. Although the history of the Holocaust concerns most the Jewish people, this topic is also about social psychology, WWII, and the history of Europe, the Soviet Union, Japan and the U.S. during one of the most trying moments of our collective past. As usual, however, there is also a personal component to my interest in this topic: I’m still haunted by some of the stories my Jewish grandparents told me about the Holocaust when I was a child.

In a fragment of Velvet Totalitarianism which I’d like to share with you below, I pieced together some of the life stories culled, here and there, from conversations with my Jewish grandparents about their experiences during WWII. This is by no means a history of the Holocaust in Romania. It offers a tiny kaleidoscope of family stories filtered by memory which, I hoped as I was writing my novel about communism years ago, I would one day have the know-how and the courage to explore in greater depth.

 

Chapter 10

[…]

“Grandma, what’s a pogrom?” Irina asked.

“You’re too young to learn about these terrible things,” Grandma Sara replied.

“Please tell me. I’ll do my best to understand,” the girl pleaded.

“I know you will. But these are adult subjects. They’re too sad for kids.”

“I’m not a kid any more. I’m already eleven!” Irina objected.

“You’re not a little kid, but you’re still a kid,” the grandmother stroked Irina’s hair.

“But, Grandma, since this happened to our own family…I have the right to know,” Irina insisted with the stubbornness of a child.

Grandma Sara gave in and told Irina, as far as she could recall, an abbreviated version of her family history. “What do you want me to say? We went from a rock to a hard place, as they say. My family’s originally from the Ukraine, a country next to Romania that was part of the Russian empire. Ironically, the reason we came to Romania is because we were running away from the pogroms there.”

“You still haven’t told me what that word means,” Irina reminded her.

“That’s what I’m about to explain,” the grandmother answered. “Long ago, Jews weren’t allowed in Russia itself; they had to live only in this area called the Pale of Settlement, which was part in Poland, part in the Ukraine. Like I said, our family lived in the Ukrainian part. And from time to time, when the tsar or hordes from neighboring villages were looking for someone to blame for their problems, they attacked Jewish villages, stole property, and killed tens of thousands of innocent people.”

“Even children?” Irina wanted to know.

“Yes. Women and children also.”

“But how can people be so mean?” Irina’s pupils expanded.

“The more downtrodden you are, the more you’re mistreated,” was all Grandma Sara could say.

By reading histories of the Holocaust, Irina later learned the details that her grandmother wouldn’t tell her, or didn’t know, or perhaps wanted to forget. Some Jews were shot in mass, but most lost their lives in “death trains” and concentration camps in Transnistria. Thousands of human beings were packed together like cattle in closed, windowless train compartments. Left for days on end without fresh air, water, food or latrines, they died of suffocation, dehydration or illnesses as the train wondered aimlessly around the countryside. Well, not aimlessly. Because by the end of its journey, the objective had been reached. All of its passengers were dead.

“Your grandfather was one of them,” Grandma Sara once told her.

“How did he manage to escape?” Irina asked with a shudder.

Her grandmother shook her head, as if the answer was beyond her grasp: some kind of miracle. “With God’s help, somehow, he jumped from the moving train. He still limps to this day. But at least he’s alive.”

Eventually, many Romanian Jews found their way to what later became the state of Israel, including all of her grandparents’ surviving siblings. In fact, Irina found out from her grandmother, her grandparents were the only ones who didn’t leave the country.

“Why did you and Zeida decide to stay behind?” Irina wondered. “Why didn’t you move to Israel like the rest of the family?”

Her grandmother shrugged: “Romania’s the only place we know. We were born here and so were our parents. This is our country, the only place we called home.”

 

Claudia Moscovici, Literature Salon

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Plans for a second Holocaust? Stalin’s “Doctors’ Plot”

Stalin'slastcrime

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

Most people know about Hitler’s virulent attack on the Jewish people, culminating in the atrocities of the Holocaust. Fewer know, however, that Stalin himself was planning a widespread attack on the Jews between the years 1948-1953. Compared to Hitler, up until the end of his life, Stalin was an “equal opportunity” killer. He masterminded the imprisonment, torture, show trials and death of his (real or potential) political adversaries and critics, as well as of countless individuals whom he suspected of independence of thought. Prominent officials and unknown functionaries; wealthier farmers (kulaks) and the poor and the hungry in the Ukraine and other areas of the Soviet Union; Christian religious leaders and Communist atheists: everyone suffered under Stalin’s reign of terror. Even the leaders of the secret police forces (NKVD), including Genrikh Yagoda and Nikolai Yezhov, were eventually purged. However, unlike Hitler and the Nazi regime, up until the end of his life, Stalin didn’t target the Jews for being Jewish.

In fact, Jews featured prominently—though they were by no means a majority, as Hitler would claim–in the communist leadership. Granted, when he planned to forge a Soviet-Nazi alliance, Stalin dismissed Maxim Litvinov, the Jewish Foreign Minister. He replaced him with Vyacheslav Molotov, the principal signatory of the Nazi-Soviet Pact of 1939. Later, in 1941, when Germany invaded the Soviet Union, Stalin manifested an uncharacteristic optimism and trust in the strength of his alliance with Hitler. The Soviet leader didn’t react promptly to the news of war. For a few days he isolated himself in shock and even forbade his generals from making preemptive strikes against the German forces gathered at the Soviet borders. Having been deprived of information about the Nazi campaigns against the Jewish people all over Europe, about 4 million Soviet Jews were left vulnerable, on the path of the Nazi attack. Although many of them were able to escape before the Germans invaded their region, a large number of those living in the Western parts of the Soviet Union were trapped by the rapid German advance.

Raul Hilberg documents that Stalin’s decision not to evacuate promptly civilians from the areas invaded by Germany were prompted by two main considerations: “One was the prevention of a hasty flight of people. Their production was needed until the very last moment… The second guideline was applied in cities whose fall was imminent. In these situations, priority for evacuation was usually given to skilled workers, managers, party functionaries, civil servants, students, intellectuals, and various professionals… But there is little evidence of any Soviet attempts to evacuate Jews as such” (Perpetrators, Victims, Bystanders, 250-251). The refusal to evacuate civilians as quickly and efficiently as possible affected Jews more than other groups, since they were in the greatest danger of extermination by the Nazis. But at this point Stalin’s strategy was not directly aimed at the Jews. They fell victim to his general policy, which affected everyone in Soviet areas occupied by the Germans.

All this changed between the years 1948-1953, when Stalin began mounting a specifically anti-Semitic campaign in the Soviet Union that, some claim, could have led to a second Holocaust. While it’s not clear how far the Soviet leader would have gone with his plans, what is clear is that like Hitler, Stalin began targeting Jews as Jews for discrimination and abuse. There’s also strong evidence that he was planning another massive purge.

As usual, Stalin offered a pretext: the death in 1948 of a prominent Soviet official, Andrei Zhdanov, much as Sergey Kirov’s assassination in 1934 offered Stalin the pretext to launch the “Great Terror” purges of 1937-38. From 1946-7, Zhdanov was Chairman of the Soviet Union. He organized the Cominform, which set the official policy for Communist parties throughout Europe. In his role as Chairman, Zhdanov also set the tone for cultural production in the Soviet Union. He is infamous for his censorship of writers and artists, including the famous poet Anna Akhmatova.

Years later, between 1952 and 1953, Stalin used Zhdanov’s death as a pretext to accuse several prominent doctors, six out of nine of which were Jewish, of conspiring to assassinate Soviet leaders. He cast doubt upon Zhdanov’s cause of death, suggesting a Jewish conspiracy. Aside from turning on the doctors themselves, including his personal physician, A. N. Vinogradov, Stalin also targeted Jewish intellectuals, whom, according to Alan Bullock, the Soviet press labeled “Zionist agents of American imperialism.” (See Hitler and Stalin, 951-952) Lydia Timashuk, a sycophant and political instigator, “discovered” the Doctors’ plot. She even received the Order of Lenin for her false denunciations. Stalin took over the case, ordering that Vinogradov be imprisoned and the other doctors tortured. The media called Jews the “enemies within” and the anti-Semitic campaign and initial arrests were followed by more “spontaneous” pogroms in the Ukraine.

The question remains why Stalin chose to target the Jews in his plans for new purges. Aside from his all-pervasive sense of paranoia, which led him to suspect treachery and sabotage even from his closest friends and allies, there are several reasons for Stalin’s anti-Semitic turn. Jonathan Brent and Vladimir Naumov, authors of Stalin’s Last Crime: The Plot against the Jewish Doctors, 1948-1953 (New York: HarperCollins eBooks, 2010), argue that in the early 1950’s Stalin was planning an even greater purge the one he launched during the Great Terror (1937-38). They maintain that Stalin was motivated by three principal considerations: 1. The need to reestablish the reigns of power through terror and purge the Ministry of Security; 2. The threat he saw in the establishment of the state of Israel and the spread of Jewish Zionism in the Soviet, and 3) the growing tension with the United States after the end of their alliance in WWII. Although the Soviet Union had recognized the state of Israel early on, Stalin perceived the U.S.-Israeli alliance as a threat to the Soviet Union.

Six million Jews were killed by the Nazis during the Holocaust. The Soviet Union had the largest remaining Jewish population: according to the U.S. Holocaust Memorial Museum, about two million Jews. During the war, Hitler and Stalin became archenemies. Ironically, had Stalin lived to carry out the planned purges, he might have accomplished Hitler’s dream.

Claudia Moscovici, Literature Salon 

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Isaac Babel, the Great Terror and The Archivist’s Story by Travis Holland

 

Isaac Babel

Isaac Babel

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

 

“I have only one request: that I be allowed to complete my last work…” Isaac Babel

The Stalinist purges assumed monstrous proportions with an opportunity: Sergei Kirov’s assassination. Eugenia Ginsburg begins her memoir about her arrest in 1937 and experience in labor camps, Journey into the Whirlwind (Mariner Books, 2002), by stating as much: “That year, 1937, really began on December 1, 1934,” the day when Kirov, the head of the Communist party organization in Leningrad, was murdered. This assassination, which some suspect was facilitated by the NKVD (the People’s Commissariat for Internal Affairs), provided Stalin with the perfect pretext to launch “the Great Terror”. The Soviet leader started a witch hunt for traitors, Trotskyist conspirators, saboteurs, and “enemies of the people” that would culminate in the spectacular show trials, incarceration, torture, enslavement in labor camps and often death of leading cultural, military and political figures. Like Ginsburg herself, the notable short story writer Isaac Babel also fell prey to Stalin’s purges of the intelligentsia. Best known for his collections of short stories Red Cavalry and Tales of Odessa, Babel is considered to be one of the best Jewish Russian authors. Although he knew both Yiddish and Hebrew, Babel most admired the nineteenth-century French classics: particularly Guy de Maupassant and Gustave Flaubert’s works. He was arrested in May of 1939, tortured, then shot on the standard made-up charge of being a Trotskyite terrorist and spy, in January 1940.

Isaac Babel was well known both for his fiction and for his adventurous romantic life. In the 1930’s he made the mistake of becoming romantically involved with Nikolai Yezhov’s second wife, Yevgenia Feigenberg. She was a sensual and promiscuous woman notorious for her intrigues that ran a popular literary salon in Russia. Babel would pay for his transgression, as well as for his lack of enthusiasm for the communist regime, with his life. Yezhov himself, the head of NKVD from 1936-1938, was dubbed the “bloody dwarf”. Under his leadership of the secret police, Stalin began the Great Terror, staging show trials that relied upon forced confessions and purging millions of people from all strata of society. Leading cultural figures, particularly those known for independence of mind, were favorite targets of the regime. Having a liaison with Yezhov’s wife, however, put Babel in a particularly vulnerable position. The NKVD began closely monitoring the famous writer right up to his arrest on May 15, 1939, by which time Lavrenty Beria, Yezhov’s equally bloodthirsty successor, had taken over the secret police.
In a last, desperate note to Beria, Babel famously wrote: “I have only one request: that I be allowed to complete my last work…”

Archivist'sStory

It was not only Babel’s life that was threatened with extinction, but also his writing, which would be burned without a trace by the NKVD. The contemporary American writer Travis Holland masterfully captures Isaac Babel’s last days in prison in his critically acclaimed novel, The Archivist’s Story. This novel offers a window into the Great Terror. Without scenes of graphic violence, only through strong characterizations and vivid descriptions, The Archivist’s Story reveals the palpable fear and great strain weighing upon all human relationships during the Stalinist purges. Even the most intimate bonds–between mother and son or among friends and lovers–are threatened by suspicion, fear and forced denunciations. Incredibly, and to his credit, Holland is able to humanize even the employees of the NKVD. He reveals some of them not as Stalin’s heartless marionettes, but as complex human beings, with their own inner struggles and family bonds. Prisoners and prison guards, writers threatened with not only death but also extinction and archivists in charge of destroying their works, are all entrapped in the same totalitarian system where nobody is safe or free.

The novel follows the life of Pavel Dubrov, a former teacher in the prestigious Kirov Institute who was demoted to the position of Lubyanka prison archivist following a political scandal.  His new job is to classify and destroy “deviationist” literature. Risking his own safety, Pavel attempts to save some of Isaac Babel’s short stories from being obliterated by the NKVD. In a sense, the protagonist has little to lose. Although young, he’s already lost much of what made life meaningful. His beloved wife, Elena, died in a suspicious train accident. His best friend, Semyon Borisovich Sorokin, was demoted and wanted by the NKVD for criticizing a popular Soviet professor, a puppet of the regime.  His mother, to whom Pavel used to be very close, is diagnosed with a brain tumor and suffers, increasingly, from blackouts. He, himself, languishes in a position antithetical to his former profession and principles. As Pavel’s world crumbles around him, he continues to fight the regime in the only way he can. He tries to help those around him threatened with imprisonment to escape to safety and attempts to save some of Babel’s fiction as a record of literary value; as pages of living history.

Before the NKVD has the chance to arrest him, Pavel manages to stow away a few valuable things in the wall, hidden behind a brick: Babel’s short stories and an anonymous postcard from his mother telling him that she loves him. “If he can save Babel’s story, save some remnant of his work, perhaps he can redeem himself, if there is anything in him left to redeem. Perhaps it is not too late” (The Archivist’s Story, Bantam Bell Publishing Group, 2007, 159).  Although, like millions of others taken away by the NKVD during the Great Terror, Pavel has little chance of survival, he manages to salvage what matters to him most: his own humanity.

Claudia Moscovici, Literature Salon

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An Unlikely Hero: On Schindler’s List by Thomas Keneally

Schindler's List

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

Slavery is perhaps the most debasing system in human civilization. It degrades human beings to the status of property. Slaves are bought and sold like objects. They are forced to work for free or for flimsy compensation, often in grueling and inhumane conditions. Sometimes they are raped and beaten by their owners. Slaves are deprived of all human rights and of their dignity. With the exception of the Holocaust, I don’t know of any other period in human history when slavery was desired by the slaves themselves and when forced labor became a saving grace for the victims. In such a dark epoch, when everything conspired to wipe the Jewish people off the face of the Earth, enslaving over a thousand of them in an enamel factory became an act of courage and heroism.

As incredible as this topsy-turvy perspective may seem to contemporary readers, this is the story of Thomas Keneally’s great historical novel, Schindler’s List. The novel is based upon the eyewitness accounts of several of the Jewish survivors saved by the German industrialist Oskar Schindler. It is a biographical fiction in the strict sense of the term. In fact, Keneally states, “most exchanges and conversations, and all events, are based on the detailed recollections of the Schindlerjuden (Schindler Jews), of Schindler himself, and of other witnesses to Oskar’s acts of outrageous rescue”. (New York: Touchstone, Schindler’s List, 1982, Author’s Note, 10)

Oskar Schindler is, by the author’s own account, an unlikely hero. As Keneally acknowledges in the Prologue, Oskar Schindler “was not a virtuous man in the customary sense of the term”. (Schindler’s List, 14) We tend to think of heroes as virtuous individuals: people with extraordinary character and moral fortitude. Yet Oskar Schindler was an average man, with ordinary human foibles. He was a sensualist and an honest womanizer: if that’s not a contradiction in terms. He openly cheated on his virtuous wife, Emilie, with both long-term mistresses and countless casual lovers. He loved carousing with his friends, business partners, acquaintances and escorts. Worse yet, he was a member of the Nazi party, initially joining its ranks out of genuine political conviction, of his own free will.

Though quickly disillusioned by the Nazis, Schindler nonetheless hopes to profit financially from the new regime. An ethnic German from the Sudetenland, he moves to Krakow Poland to set up an enamelware factory that will employ the slave labor of local Jews. The large Jewish community in Krakow was isolated from the rest of the population by the Nazis in a ghetto, which was formally established in March 1941 in the Podgorze district. Schindler witnesses the incredible cruelty manifested by the SS towards the 15,000 helpless Jewish civilians as well as the random acts of violence of his sociopathic country mate, Amos Goeth, who regards the captive Jews as his personal property and prey.

This biographical novel presents a slice of history and a study of contrasts: between times of normalcy and the mass insanity of the Nazi era; between the humane  actions of Oskar Schindler and the savage inhumanity of Amon Goeth. Without the dark figure of Goeth, it would be more difficult to appreciate Schindler’s heroism and humanity.

Amos Goeth, the SS Second Lieutenant in charge of liquidating the Krakow ghetto and of overseeing the Plaszow concentration and labor camp, is a malicious sadist. He savagely beats his Jewish servant, Helen Hirsch, and kills Jewish inmates, randomly, just for sport. As the narrator states, “No one knew Amon’s precise reason for settling on that prisoner—Amon certainly did not have to document his motives. With one blast from the doorstep, the man was plucked from the group of pushing and pulling captives and hurled sideways in the road” (192).

By way of contrast to Goeth’s predatory cat and mouse games, Schindler exhibits compassion, courage and character. He uses all his connections, resourcefulness and wealth to save as many Jews as possible during the Holocaust.  Threatened by the advance of the Russian army on the Eastern front, the Nazis dismantle the Plaszow labor and concentration camp. When he finds out about their plans to send most of the prisoners to their deaths in Auschwitz, Schindler promises those who worked for him that he would save them. He sets up a small munitions factory in his hometown of Brinnlitz, Czechoslovakia, where he eventually manages to bring over 1500 Jews.  In these horrific times, slavery becomes the Jews’ only salvation. “Oskar’s list, in the mind of some, was already more than a mere fabulation. It was a List. It was a sweet chariot which might swing low” (277).

The Nazi regimes brought out the worst in many people throughout Germany and occupied Europe: at best, a cruel indifference to the enslavement and massacre of Jews; at worst, various degrees of collusion with the local Nazi administrations. Yet these evil times also brought out the best in some, like Oskar Schindler. His acts of courage and resourcefulness have inspired the blockbuster movie, Schindler’s List (1993), directed by Steven Spielberg. Perhaps this is why we still know of Oskar Schindler to this day. But the greatest homage to this ordinary man who did his best to protect fellow human beings from the Nazi savagery remains that he will be forever remembered and honored by generations of Jews as an extraordinary hero.

Claudia Moscovici, Literature Salon

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On Hitler’s Niece and writing historical fiction

 

Geli Raubal and Hitler

Geli Raubal and Hitler

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

If you want to know about Hitler’s life, then read Ian Kershaw’s Hitler: A Biography (W. W. Norton & Company, 2010). If you want to find out as much as possible about the history of the Nazi movement and Hitler’s role in it, then read Hitler and Stalin: Parallel Lives by Alan Bullock (Knopf, 1992). But if you want to get a sense of who Hitler was a human being, I encourage you to read a very well written historical novel by Ron Hansen called Hitler’s Niece (Harper Collins, 1999).

Hansen traces Hitler’s abnormal psychology from the perspective of Angela Maria (“Geli”) Raubal (1908-1931), his half niece. Geli is intelligent, beautiful, full of joie de vivre and untouched by the political obsessions and anti-Semitic hatred of her uncle and his cronies.  She maintains an ironic distance from Hitler’s fanatical followers—Rudolf Hess, Heinrich Himmler, Joseph Goebbels, Hermann Göring, Alfred Rosenberg and others—who also appear in the novel. Compared to her, however, they’re wooden characters in a farce, much as they were in real life. These vain men are fawning and obsequious, hungry for power and always ready to not merely follow, but also anticipate Hitler’s orders and wishes.

By the author’s own admission, however, the novel doesn’t adhere strictly to historical facts. It is only inspired by them, particularly by Bullock’s book Hitler and Stalin, which Hansen states provoked his fascination with Geli Raubal. (Author’s Note, 307-308) The novel describes Geli’s life, from beginning to end; from birth to tragic death. We find out that her father died at the young age of 31, leaving her mother, Angela, to take care of three kids (Geli, Leo and Elfriede) with almost no source of income. After seeing that Geli, at seventeen, had bloomed into a lovely young woman, Hitler invited her to be his housekeeper and companion. Her mother gladly accepted this unorthodox arrangement, in the hopes of making possible a better lifestyle for their family.

Becoming Hitler’s companion, caretaker, maid and eventually his mistress, Geli catches a glimpse of the inner workings of the Nazi party and its key players’ rise to power. Above all, Hitler’s Niece shows us, up close and personal, how a psychopath capable of genocide “falls in love.” Even after her death, Hitler called Geli the love of his life. Neither Eva Braun, his doting life companion, nor any other woman could compete with his obsession with Geli.

GeliRaubal

Geli Raubal spent six years either living with Hitler or being in frequent contact with him. For a period of time, she lived in his Munich apartment while she studied medicine and took music lessons. She also accompanied him to the opera, cinema, and the many other social functions he attended. The plot of the novel hinges on their sexual tension and on Geli’s psychological trauma as she becomes, increasingly against her will, his sexual partner in a sordid, sadomasochistic relationship that sickens her and intoxicates him. The more she tries to escape, the more possessive, dependent and desperate he becomes. As the narrator states, “She was his escape, his torpor, his surrender to the vacillation and passivity that were increasingly part of his nature” (220).

Need and obsessive desire, however, don’t imply love. For love to exist, the lover has to be able to consider, empathize with and fulfill the beloved’s own needs, as a separate individual. Hitler can’t do that. He “loves” his niece like a man who is incapable of real love. His idea of flirtation is bragging incessantly about himself. His idea of “affection” is engaging in perverse and demeaning sexual rituals. His idea of respect for women gives way to a fundamental misogyny and traditionalism that require them to serve him. His idea of passion is possession and control of the object of his desire.

Hitler demands to know at all times where Geli is, what she is doing and with whom. He retains the freedom to see other mistresses—including Eva Braun—but keeps a tight leash on Geli, discouraging other suitors. Once Emil Maurice, Hitler’s good-looking Corsican chauffeur begins dating Geli, Hitler finds a pretext to dismiss him. “She is with me,” Hitler snarls when another man, Schirach, asks his permission to take out Geli on a date. (244)

Caught in the vortex of her uncle’s overpowering addiction to her, Geli cannot escape the misery that dominates her life. When she expresses her distress, her friends turn their back on her and even her mother would rather, essentially, prostitute her to “Uncle Alf,” “the patriarch” of the family, rather than face poverty again. At the end, Hitler’s Niece adds an interesting but largely speculative twist to the story. Although the official version is that Geli committed suicide in 1931, in the novel, Hitler, realizing that he can no longer master his niece, beats her, breaks her nose, and then shoots her. His entourage quickly covers up the murder and presents it to the police and the press as an act of suicide. This adds an intriguing element of mystery to the plot, turning Hitler’s Niece into a detective story. But the novel’s main strength remains the psychological aspects of the drama. Hansen helps us see that there is not much difference between Hitler the public man, who could order the murder of millions of innocent people, and Hitler the private lover who could destroy the object of his desire rather than risk losing her.

Given this novel’s many strengths, it’s surprising to me that Hitler’s Niece received some scathing reviews, particularly from The New York Times. In “Springtime for Hitler, in love with his niece,” Michiko Kakutani offers a lengthy plot summary and then dismisses the novel as a poor representation of history which takes away from the gruesome reality of Hitler’s “public crimes, crimes that tragically were not speculative imaginings of a novelist, crimes that have been consigned to the margins of this inept and voyeuristic novel” (NYT, September 7, 1999).

http://www.nytimes.com/books/99/09/05/daily/090799hansen-book-review.html

I completely disagree with Kakutani’s harsh assessment and standards of evaluation in this case. The role of historical fiction is not to convey history accurately or in great detail. That is what (nonfiction) history books do. In my opinion, the role of historical fiction is to do exactly what Hitler’s Niece does so well: namely, find inspiration in real historical events to imagine the mindset, emotions and desires of its key figures. Often only more marginal characters, such as Geli Raubal, or Hitler’s niece, can give us a three-dimensional picture of the monster whose acts have marred the pages of history.

Claudia Moscovici, Holocaust Memory

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Literatura de Azi (Today’s Literature): Perpetuating culture in the Internet age

design by Laurentiu Midvichi

design by Laurentiu Midvichi

Literatura de Azi (Today’s Literature): Perpetuating culture in the Internet age

by Claudia Moscovici

The notable Romanian literary critic Daniel Cristea-Enache recently launched Literatura de Azi, a  literary and culture blog that features essays by Romanian critics, fiction writers and artists.  The blog includes sections on literary criticism by Daniel Cristea-Enache himself, Alex Stefanescu, Dan-Liviu Boeriu, Ovidiu Nimigean, Lia Faur and Anca Goja; poetry by Emil Brumaru and Radu Vancu; creative writing by Selian Turlea; artwork selected by the painter Laurentiu Midvichi, music selected by Gabriela Pop, and my own section of book reviews on the Holocaust.   The list of contributors will continue to grow as the blog expands. Literatura de Azi also benefits from an excellent and energetic team of editors: Odilia Rosianu (Editor-in-Chief), Anca Goja and Romina Hamzeu (Managing Editors), Irina Ionita (Editor), Nona Carmen Rapotan (Junior Editor) and Adrian Pop (Web Master). Promoting culture via the Internet is no easy task: first of all because many consider “culture” and “the Internet” to be a contradiction in terms; secondly because it’s easy for whatever is considered “culture” to get lost in the deluge of all kinds of information. In fact, this is a problem the world of publishing faces in general.

Both publishers and authors are becoming increasingly concerned with the question of how to promote books effectively, capture the interest of readers and generate sales. Given the number of books out there, without an outstanding publicity campaign, each given book risks passing unnoticed. The competition for readers is tremendous given that an astronomical number of books are published each year. The United Nations Educational, Scientific and Cultural Organization (UNESCO) cites that roughly 2,200,000 books are published annually. Out of curiosity, I looked up the two countries I write about most which, not coincidentally, are also those where I’ve lived: the U.S. and Romania. In 2010, 328,259 were published in the U.S. and in 2008 14,984 books were published in Romania. Given this large number of books published in the U.S. alone, it’s difficult to believe how difficult and competitive the process of publishing can be (as I explain in an earlier article on the subject):

in English:

in Romanian:

And yet publishing your manuscript is only the beginning of the gargantuan task of rising to the surface in an ocean of information. On the one hand, the mass media and the Internet in particular makes sharing our cultural products easier in some ways, by facilitating access to an audience. For instance, anyone can self-publish and promote a novel nowadays, through blogs, twitter,  youtube and other popular venues on the internet. But this apparent democratization of culture also makes it a lot tougher to stand out from the crowd. Each cultural product–be it a novel, a collection of poems, a song, a film or a painting–competes with tens of millions of others. It’s hard to find or discern anymore what we value and what we don’t in this tidal wave of information that assails us from all directions on a daily basis. So how do quality books, and culture in general, rise to the surface? 

noise

To draw another analogy, it’s as if we heard talented classical musicians playing their instruments at the same time as others howl, scream, talk and yell in various languages. Or, if you prefer to avoid making any value judgments, as if we heard them playing at the same time as other talented musicians practice other songs. Either way you look at it, what reaches our ears will sound like a maddening cacophony, to the point that we can no longer discern the music we prefer from  the surrounding noise we’d like to ignore.

Daniel Cristea-Enache

Daniel Cristea-Enache

In a world of information (and publication) overload, publicizing culture becomes both a necessity and a challenge. This is precisely what Daniel Cristea-Enache explains in an editorial called  “Romania of the Year 2014” (Romania Anului 2014) on Literatura de Azi (Literature of Today): 

in English translation:

“Today, almost a quarter of a century after the anti-communist revolution, it’s clear that the Romanian people and their social sphere have changed. The internet first registered this transformation, then it accelerated it. Readers–especially the younger generations–don’t obtain their information from traditional channels (it’s noteworthy that newspapers have declined even more dramatically than cultural journals) but from the Internet. We can protest this reality; we can be nostalgic; we can pull our hair out; we can laugh with a sense of superiority; we can sigh with regret: but this is the reality we face and it won’t change just because we want it to. It’s not reality that will adapt to us, in an open and pluralist society. We have to adapt to the increasing predominance of the Internet. The immediate question that arises is: if we notice this predominance, do we oppose it or do we make use of it?” (Daniel Cristea-Enache)

in Romanian:

“Astăzi, la aproape un sfert de secol de la Revoluție, e limpede că lumea românească și spațiul ei social s-au schimbat. Internetul întîi a constatat schimbarea, apoi a accelerat-o. Cititorii – mai ales cei tineri – nu își mai iau informația de pe canalele tradiționale (e semnificativ că ziarele au căzut încă mai dramatic decît revistele culturale), ci de pe net. Putem să protestăm împotriva acestei realități, putem să fim nostalgici, putem să ne smulgem părul din cap, putem să rîdem cu superioritate, putem să suspinăm cu jale: aceasta este realitatea și ea nu se schimbă după cum vrem noi. Nu realitatea are a se adapta la noi, într-o societate deschisă și pluralistă. Noi avem a ne adapta la realitatea dominației, tot mai accentuate, a internetului. Întrebarea care se pune imediat este dacă, o dată ce constatăm această dominație, ne împotrivim ei sau o folosim.” (Daniel Cristea-Enache)

Daniel Cristea-Enache goes on to argue that the first strategy is utopic. Literary production can’t avoid the Internet. Nor can it combat singlehandedly its vast and growing influence. He states that perhaps with great effort a single writer can impose upon himself isolation from the contemporary world of mass media; a kind of Rip VanWinkle hibernation. But the whole field of cultural production–literature in itself–certainly can’t follow this strategy. What Daniel Cristea-Enache proposes, and what the entire project of Literatura de Azi epitomizes, is the adaptation of “high culture” to the age of the Internet. This goal abandons the binary opposition between Culture (with all the implicit hierarchies of judgment and value that Pierre Bourdieu and others analyzed) and the Internet (mass media, without standards of value). Cristea-Enache adopts a pragmatic and modern approach to cultural value: namely, that of “transforming the Internet not in the goal of literature but in its cultural instrument, through which literature can reach as many readers as possible.” (“Chestiunea, după mine, este să transformăm internetul nu în scopul literaturii, în ținta ei – ci în instrumentul cultural prin care literatura poate ajunge la cît mai mulți cititori.”)

Being a practical person, Daniel Cristea-Enache practices what he preaches. Literatura de Azi, a blog that has already become in a matter of months a very prominent conduit of literature and culture in Romania (and that has the potential of growth internationally through syndicated columns in several languages) shows that literature, art, film and poetry can, indeed, survive the age of mass media information. But they won’t reach readers and viewers on their own. Holding on to the past or hoping for the best in the present aren’t workable strategies for promoting culture in our times. Promoting culture takes a lot of organization, energy and team work by editors, critics, authors, publishers and readers who still believe in the value of good books and do their best to help them rise to the surface in the sea of information. For more information, see Literatura de Azi‘s website, http://www.literaturadeazi.ro/

Claudia Moscovici

Literature Salon

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Filed under Adrian Pop, Alex Stefanescu, Anca Goja, book review, Claudia Moscovici, contemporary fiction, Dan-Liviu Boeriu, Daniel Cristea-Enache, Emil Brumaru, fiction, Gabriela Pop, Irina Ionita, Laurentiu Midvichi, Lia Faur, literary criticism, Literatura de Azi, Literatura de Azi (Today's Literature): Perpetuating culture in the Internet age, literature, literature salon, literaturesalon, Nona Carmen Rapotan, Odilia Rosianu, Ovidiu Nimigean, Radu Vancu, Romina Hamzeu, Stelian Turlea

Hannah Arendt’s The Origins of Totalitarianism: Why the Jews?

arendt-hannah-the-origins-of-totalitarianism1

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

Hailed as a classic by the Times Literary Supplement and ranked by Le Monde as one of the 100 best books of 20th century, Hannah Arendt’s monumental study, The Origins of Totalitarianism (1951), sketches a political philosophy of the rise of Nazism and Stalinism. In her discussion of the rise of the Nazi movement in particular, Arendt refutes previous explanations of the dissemination of anti-Semitism and its vicious culmination in the Holocaust.

She dismisses explanations of anti-Semitism that she considers “ahistorical,” which do not take into account how prejudices and discrimination against the Jews, occurring throughout the centuries, turned into the center of racist ideology for the Nazi movements.  To understand the historical difference between previous anti-Semitic tendencies and actions—even ones as severe and deadly as pogroms—and the Nazi extermination camps, Arendt describes the unique nature of totalitarian power.

In the first part of the book, Arendt refutes common misconceptions of anti-Semitism. Her arguments focus upon a central question: Why the Jews? How and why did the Jewish people throughout Europe come to be targeted for discrimination, abuse, mass deportation and extermination?

1. The rise in nationalism did not cause a corresponding rise in anti-Semitism in Europe

One common answer to this question explains the radical rise of anti-Semitism in Europe in terms of the rise in nationalist sentiments and its “xenophobic outbursts”. Arendt contends that just the opposite is true: modern anti-Semitism grew as nationalism declined throughout Europe. Nazi ideology, while making use of nationalist sentiments in its rhetoric, actually emphasized the international character of “race”. Hitler never hid the fact that his aim was to ensure the supremacy of the “Aryan” race in Europe and, if possible, throughout the world by subjugating and even eliminating “inferior races”. He turned prevalent feelings of national fervor, anti-Semitism and xenophobia into a transnational racial war.

2. The Jews were not randomly selected as Nazism’s main target and victims

Arendt goes on to refute another common misconception: namely, that the Nazi movement could have selected any other group as the main target of its hatred and abuse. After all, it did include other groups in its categories of “undesirables,” including the mentally handicapped, Gypsies and even the Poles (or the Slavs in general, whom Hitler planned to enslave if he had won the war).  But nobody can deny that the isolation and extermination of the Jews was Hitler’s—and, consequently, the Nazi movement’s—primary obsession. The Nazis pursued the mass deportations and extermination of Jews even at the cost of an economic loss and even after the battle of Stalingrad, when they began to lose the war. This is not, however, because the Jews are perpetual scapegoats and victims. “The theory that the Jews are always the scapegoat implies that the scapegoat might have been anyone else as well,” Arendt points out. “It upholds the perfect innocence of the victim, an innocence which insinuates not only that no evil was done but that nothing at all was done that might possibly have a connection with the issue at stake.” (The Origins of Totalitarianism, 5) So then why were the Jews targeted as the Nazi regimes primary enemies and targets?

3. The Jews were targeted by the Nazis not because of their vast influence, as was claimed by fascist movements, but because of their statelessness and powerlessness

Nazi propaganda held the Jews responsible for everything that went wrong—economic crises, Germany’s humiliation after the Treaty of Versailles, unemployment, etc. This implied that the Jews were a unified people that had an incredible political power. Hitler described his war against the Jews as a self-defense against a “Jewish conspiracy” to take over the world. Yet, Arendt maintains, the opposite holds true. “Anti-Semitism reached its climax when Jews had similarly lost their public functions and their influence, and were left with nothing but their wealth.” (The Origins of Totalitarianism, 4) Arendt plausibly argues that Jewish wealth without political power and social influence began to be seen as parasitical in nature. It stirred envy rather than respect and contempt rather than compassion: at least in people already inclined to finding scapegoats for their troubles.

4. Totalitarianism subjugates perfectly obedient people

No doubt, there’s a personal, quirky and irrational component to Hitler’s obsessive hatred of the Jewish people, which became part and parcel of his insatiable drive for power. Hitler justified his desire for total control not only of the German people, but also of Europe and eventually the world, in terms of “saving” the Aryan race from imminent contamination and eventual destruction by the Jews. Yet he targeted Jewish victims who not only had no desire to take over the world, but also who didn’t have the means to do it. In general, Arendt argues, the victims of totalitarian terror are selected because of their helplessness and innocence, not because of their power and culpability. The assault upon the Jewish people, she goes on to illustrate, was only the first step in a reign of terror of unprecedented proportions that would aim at nothing short of the destruction of ethical values and of human identity itself.

Claudia Moscovici

Literature Salon

https://literaturesalon.wordpress.com

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Review of The Archivist’s Story by Travis Holland

archivists_story

 

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

If you’re intrigued by the history of totalitarianism, particularly as played out during the Stalinist period in the U.S.S.R., then you have probably read Robert Conquest’s The Great Terror, Arthur Koestler’s Darkness at Noon and Natalia Ginsburg’s Journey into the Whirlwind. Suffering on such a massive scale is difficult to imagine, much less describe for readers who have not lived through these horrific events. If anything, the graphic representation of violence in our daily lives-on T.V., the internet, video games, etc-have desensitized us to human suffering. While novels and memoirs written by those who experienced the Stalinist purges reveal the horrors they and their loved ones endured, more recent representations of life during communism seem to shy away from depicting overt violence. I’m thinking of the popular German movie The Lives of Others, which chose to focus on the periphery, in an incredibly effective representation of character transformation and political voyeurism.

isaac_babel36-37

 

“I have only one request: that I be allowed to complete my last work…” – Isaac Babel

Written in this tradition, Travis Holland’s impressive debut novel, The Archivist’s Story, attunes readers to the nuances of living under communist regimes: the constant fear; the ever-present threat of violence; the relentless surveillance; the pressure to succumb to the totalitarian machine. Instead of focusing on the key players (Stalin and his cronies) or on the violent horrors of the Gulags and prisons, Holland reveals the drama of the center stage by depicting the periphery. The story is told by Pavel Dubrov, a Lubyanka prison archivist whose job is to destroy “deviationist” literature. In a file, he discovers a story that he believes is written by Isaac Babel, who is himself imprisoned. Because he admires Babel and his work, the archivist performs an act that speaks to his courage: he saves one of Babel’s documents. It’s true that Pavel doesn’t have much to lose at this point: his wife was killed in a train accident; his mother is dying of brain cancer. The archivist’s life revolves around his sordid duties at the Lubyanka. Refusing to burn a document may not seem like much. But one must remember that, during the Stalinist period, even looking at someone the wrong way or not applauding loudly enough after a communist speech could mean a death sentence. Saving a document that not only went against the party line, but also countered the very spirit of dogma reigning over the U.S.S.R., constituted a heroic gesture. Through the elegance of his prose, the strength of his characterizations and the engaging pace of his narration, Holland allows readers to step into the nightmarish reality of Stalinist Russia and appreciate its impact upon ordinary lives.

Claudia Moscovici, Notablewriters.com

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Finding (the elusive) Room of one’s own: Interview with Bookblog about being a writer

A room of onee's own

Finding (the elusive) Room of one’s own: Interview with Bookblog about being a writer

Claudia Moscovici

In 1929 Virginia Woolf published a series of lectures that she delivered in 1928 at Newnham and Girton colleges (the women’s colleges at Cambridge University), which we  know under the title “A Room of One’s Own”. She argued that women don’t have their own creative space, both figuratively, in the male-dominated tradition of male writing, and literally, meaning the time and space to write. I think that nowadays few writers, both male and female, have a room of one’s own. For the vast majority of creative writers, writing is a passion, a talent, even an identity, but it is no longer a profession. To put it bluntly, most writers can’t earn a consistent living from it. Even journalism is barely hanging on, as the major newspapers in the U.S. are bought at low prices and blogging has taken over what used to be professional journalism. Ever since I was in college, at Princeton University, I’ve dreamt of being a fiction writer. Knowing, however, that writing isn’t a full-fledged profession, I didn’t take the plunge until my family and I achieved some level of financial stability. I studied and got a doctorate in Comparative Literature at Brown University and became a literary critic and professor for nearly 15 years. Although I had some financial stability at that point, I wouldn’t say that I had a room of my own, either literally or figuratively. I was busy raising a young family, my lovely kids Sophie and Alex, so I didn’t have much time to write fiction.bookbloginterview3

Professionally, for many years I wrote scholarly essays and books. To give voice to my creative side, in  2002 I founded an art movement called postromanticism (http://postromanticism.com), devoted to some of the aesthetic values that I thought were being neglected in contemporary art: verisimilitude, passion, sensuality and beauty.Cover of Romanticism and Postromanticism

The internet became, to some extent, a room of my own: a space where I could discover and interact with artists from all over the world (France, the U.S., Switzerland, Taiwan, Romania, Hungary, Italy, Mexico, Brazil, etc.) who shared my aesthetic vision. But I still didn’t have the time and space to fully express my own creativity as a writer until I became a full-time writer in 2008 and subsequently published my first novel, Velvet Totalitarianism, in 2009 (translated as Intre Doua Lumi, Editura Curtea Veche, 2011) and my second novel, The Seducer (2011). At that point in my life, my children were old enough that they no longer needed to be nurtured in the same way, or in the same space with me at all times. My space as a writer changed again and I could finally have the time and place to write.

Bookbloginterview1

I write at my desk on a Mac computer, with my cat Jewel serving as a constant companion (and, I’d say, also muse). As all my Facebook friends know from the cat pictures I post, I’m a big cat lover. This is why I chose a picture of Jewel in my library as one of the photos included for this interview. This picture of my cat perched on my books also shows that even when I write fiction I still follow some of the research habits  that I acquired as a scholar. I research throughly every novel I write. To write Velvet Totalitarianism, for instance, I read dozens of books on communism, the Ceausescu dictatorship, the political history of Romania and the revolution of 1989. To write The Seducer, a novel about psychopathic seduction that follows the structure of my favorite novel, Anna Karenina, I researched psychopathy, narcissism and other personality disorders. The plots of my novels may be fiction, but to write about anything that has a basis in history, psychology or sociology I believe that one has to have some foundation in facts.

Seducer Cover

We are used to thinking of writers as being occupied mostly with writing. I believe this too has become a fiction. If the writer has a family, then a large part of his or her life revolves around that family’s needs. Second, a writer has to wear many hats, so to speak: researcher, writer, and publicity director all in one. As a literary critic, fiction writer and founder of an international art movement, the publicity hat is very large for me. I not only have to publicize my own books, but also the postromantic movement and the art of the dozens of artists I collaborate with (you can see some of my essays about them on my art blog, http://fineartebooks.wordpress.com).bookbloginterview2

This is why for this interview I’ve included a press photo of me during my visit to Romania, taken by Claudiu Ciprian Popa, for the launch of my novel Intre Doua Lumi, in 2011. Book publicity has become almost as important to me as the computer at which I write. And this isn’t just because nowadays publicity has become a necessity: without effective publicity most writers wouldn’t be read. It’s also because I’m trying to find a place in the publishing industry that isn’t that of simply being a writer. I’ve witnessed enormous changes in this industry in the U.S., as most of the small and medium publishing houses have died, or been swallowed by the large publishers. Even the large publishing houses have had to merge to survive. Most authors are left without a publicity budget, which means with less consecration and access to readers and reviewers. The final picture I’m including of this room of my own is a still shot from the movie video book trailer for my novel “Velvet Totalitarianism,” called “Velvet Love,” made by Andy Platon.

bookbloginterview4

This photo indicates the direction I believe the publishing industry will take: namely, producing relatively inexpensive, creative and cutting-edge ways in which individual authors and publishers will publicize books in the future. In the past few years my writing space, or room of my own, has changed yet again, to encompass a network of collaborations among the various arts, including music, film and literature, which I believe will become increasingly important to authors and publishers alike.

Claudia Moscovici, Literature Salon

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Filed under A Room of one's own, Andy Platon Velvet Love, book review, Claudia Moscovici, contemporary fiction, fiction, interview with Bookblog, Intre Doua Lumi Claudia Moscovici, Intre Doua Lumi Curtea Veche Publishing, literary criticism, literature, literature salon, literaturesalon, Velvet Love, Virginia Woolf A room of one's own